무용창의성 측정을 위한 TCAM (Thinking Creatively in Action and Movement) 검사의 적용가능성 연구

박영하 한국무용예술학회 2011 무용예술학연구 Vol.32 No.-

The purpose of this study is to analyze the possibility of application of TCAM (Thinking Creatively in Action and Movement) test in the field of dance education. In order to analyze this, this study first conducts analysis on how TCAM test relates to dance elements in improvisation and then this study verifies the relationship between TCAM test and dance creativity. Lastly, this study compares and analyzes the factors between TCAM test and Dance Creativity on the basis of Action-based Creative Cognition Process of Peter(2007)’s the Creative Action Theory. From the analysis of data, this study found results as follow; first, Creative activity in TCAM test have close relationship with factors of dance improvisation. Second. Creative movement in TCAM test and Dance Creativity has same creative process based on Action-based creative cognition process of Peter’s Creative Action Theory. Third, TCAM test and Dance Creativity involve same factors and the factors of TCAM test involves into the dance thinking domain of Dance Creativity, so that TCAM test can be applicable to exam Dance Creativity in dance thin. In result, according to Peter’s creative action theory, all creative movements are made through Action-based creative cognition process, and four factors of Dance Creativity and creative activities of TCAM test constitute common domain to produce creative movement. Therefore, the relationship between Dance Creativity and TCAM test are concluded, so that TCAM test can be applicable to exam creativity in dance.

초등 무용창작수업 과정 연구- 미국 뉴욕의 초등무용수업 사례를 중심으로

정재임 ( Jae Im Chung ) 무용역사기록학회 2013 무용역사기록학 Vol.31 No.-

Currently, dance programs for developing students` creative capacity have been increased. In addition, there has been much research about a creative dance curriculum, a teacher`s perception or an efficacy of creative dance, etc. For example, von Rossberg-Gempton, Irene Elisabeth`s dissertation(1998) which is creative dance: potentiality for enhancing psychomotor, cognitive, and social-affective functioning in seniors and young children showed that creative dance can enhance physical, social, and emotional growth in children and frail adults. Moreover, Senft Miller, Erick Dietlinde(1999) explored children`s creative dance through the lens of play. This study contributed to reveal the inside view of how teachers understood and negotiated their roles in building and guiding the creative dance class experience. This study identifies how creative dance classes are taught and what teaching procedures are used in creative dance classes for elementary school children. This study also focuses on how a dance performance is created by children and how to introduce creative processes to children in their local community. In order to better understand creative dance, this study presents the format of a creative dance class and the structure of outreach dance programs by information in the public domain. The findings indicated that creative dance teachers teach children in a formalized format using creative dance activities, and lead children in creating a dance performance. Moreover, to enhance creative processes, outreach dance programs can be executed by both teachers and students.

대학생의 창의성지지 교수학습 환경, 암묵적 믿음 및 창의적 무용수행 간의 관계

박기현 ( Ki Hyun Park ) 대한무용학회 2024 대한무용학회논문집 Vol.82 No.4

Creative mindset refers to people's implicit beliefs and mindset about the source of creativity. This implicit belief in creativity is the ability to think and view the world like an artist (Karwowski, 2014). The purpose of this study is to examine whether college students' implicit beliefs about creativity mediate the relationship between creativity-supportive teaching and learning strategies and creative dance performance. The participants of the study were 425 students (36 males and 389 females) enrolled in the dance departments of five universities in Seoul and Gangwon Province, and the data were processed through descriptive statistics, confirmatory factor analysis, reliability analysis, correlation, and structural equation modeling. The results of the structural equation model analysis are as follows: First, the research model was evaluated as a valid model for predicting the creative dance performance of dance majors. Second, the perceived creativity-supportive teaching and learning environment in dance class contributes to students' ability to generate and perform dance-related creative ideas by reinforcing their belief that creativity can grow. Third, the fixed belief that creativity does not change easily does not mediate the relationship between creative teaching and learning environments and creative dance performance. Findings suggest that underutilizing creativity- supportive teaching and learning strategies and believing that dance-related creativity can grow with effort and persistence are important to promote creative achievement in dance majors.

무용학과 대학생의 창의적 학습환경 지각과 창의성 간의 관계: 동기와 창의적 프로세스 참여의 매개효과

장보경 학습자중심교과교육학회 2025 학습자중심교과교육연구 Vol.25 No.4

목적 본 연구에서는 무용학과 대학생들의 창의적 학습 환경에 대한 지각이 무용 창의성에 영향을 미치는데 있어서 창의성 동기와창의적 프로세스 참여가 이들 간의 관계를 매개하는지를 분석하였다. 방법 총 414명의 무용학과 대학생들이 설문조사에 응답하였으며(남학생 54명, 여학생 360명), 자료는 기술통계, 확인적 요인분석, 내적 신뢰도 분석, 상관분석 그리고 구조방정식모형 분석을 이용하여 처리되었다. 결과 구조방정식모형 분석을 통해 창의성 동기와 창의적 프로세스 참여의 매개효과를 검증한 결과는 다음과 같다. 첫째, 대학생들의창의성 동기는 창의적 학습 환경 지각과 창의적 프로세스 참여 간의 관계를 정적으로 완전 매개하는 역할을 한다. 둘째, 대학생들의창의적 프로세스 참여는 창의적 학습 환경 지각과 무용 창의성 간의 관계를 정적으로 부분 매개하는 역할을 한다. 셋째, 대학생들의창의적 프로세스 참여는 창의성 동기와 무용 창의성 간의 관계를 정적으로 부분 매개하는 역할을 한다. 넷째, 대학생들의 창의성동기와 창의적 프로세스 참여는 창의적 학습환경 지각과 무용 창의성 간의 관계를 정적으로 부분 매개하는 역할을 한다. 결론 이들 결과는 창의성이 요구되는 무용학과 대학생들의 창의적 성취를 촉진시키기 위해서는 무용시간에 대학생들의 창의성을지지하는 학습 분위기를 조성하고 창의성에 대한 동기를 부여하며 모든 학습과정에 창의적으로 적극 참여시킬 수 있는 교수-학습전략의 중요성을 시사한다. Objectives The purpose of this study was to analyze the effect of dance students' perceptions of creative learning environment on dance creativity and whether creativity motivation and participation in the creative process medi ate the relationship between them. Methods A total of 414 dance majors responded to the survey (54 males and 360 females), and the data were ana lyzed using descriptive statistics, confirmatory factor analysis, internal reliability analysis, correlation analysis, and structural equation modeling. Results The results of the mediating effects of creativity motivation and participation in the creative process are as follows: First, college students' creativity motivation positively and fully mediated the relationship between per ceived creative learning environment and creative process engagement. Second, college students' creative proc ess engagement positively partially mediates the relationship between creative learning environment perceptions and dance creativity. Third, college students' engagement in the creative process positively partially mediates the relationship between creativity motivation and dance creativity. Fourth, college students' creativity motivation and participation in the creative process statically partially mediate the relationship between perceived creative learn ing environment and dance creativity. Conclusions Findings suggest the importance of teaching and learning strategies that can create a learning at mosphere that supports creativity, motivate creativity, and actively engage students in all learning processes in dance in order to promote creative achievement in dance majors who require creativity.

Creative Dance와 Dance Therapy의 움직임원리 탐색

변인숙,남중웅 한국체육철학회 2008 움직임의철학 : 한국체육철학회지 Vol.16 No.2

This study is aimed at examining how to progress and approach the body movement in Creative Dance, how to apply movement reaction in Dance Therapy, also how to be divided and evaluated two part of movement principle using movement of body. Creative Dance is the art through a simple body rather than the course that is the combination of body and soul, body and nature, and to make the one phenomenon world through creativity of real world. we will find new movement whatever the course, and do a role to solve the problem of movement related subject through experience of art creativity that gain the while oneself. It is Dance Therapy that can be made by a process in which feeling of movement and desire become material and basis by experience, and the meaning of movement is reflected to the mind of oneself and is recognized. Creative Dance coach selects and teaches 'work' or regular 'form'. But the coach(Dance Therapist) doesn't teach, but do guide and do a role like build bridge through volunteered participation. Creative Dance performs using 'technology', 'style' or 'aesthetic', creatives new images by being given one meaning by audience estimate. Dance therapy discern and interpret about emotion deeply, it called spontaneity, it is made up of motion vocabulary and it is judged to be change in everyday life. And also if two parts revitalze movement using matrial and properties that suit the subject, it bring about development of sociality. We think that this dance expand into movement principle in Creative Dance and Dance Therapy, is one of the methodology to present the way to go ahead, understand that transmission process be expressed by some facts, and we expect what contribute practical plan to make expand freedom, artistry, and psychological factor through Creative Dance and Dance Therapy. 본 연구는 무용이 창작무용에서의 신체움직임은 어떻게 진행되며 접근되는지를 살펴보고, 무용치료에서는 움직임의 반응이 어떤 방법으로 적용되며 또한 두 영역의 움직임원리가 그 바탕은 무용이라는 신체의 움직임을 활용해 어떻게 구분이 되어 평가되어지는지를 살펴보는데 연구의 목적이 있다. 창작무용은 그 과정이 어떤 것이든 새로운 움직임을 찾게 되고, 자신이 쌓아온 예술 창조의 경험을 통해 주제와 연관된 움직임의 문제를 해결하는 역할을 하게 된다. 무용치료는 움직임의 내면적인 ‘정서’와 ‘의욕’이 자신의 ‘경험’에 의해 소재가 되고 근원이 되어 결실을 이루게 되는 과정이라고 할 수 있으며 움직임의 의미를 자신의 심리에 반영시켜 의식화되어 나타나는 것이다. 창작무용의 지도자는 ‘작품’이나 일정한 ‘형태’를 선택하여 지도하는 것이다. 그러나 무용치료에서 지도자(무용치료사)는 가르치는 것이 아니라, 자발적 참여를 통해 안내를 하며 가교적인 역할을 한다. 창작무용은 ‘기술’이나 ‘양식’, ‘미학적’인 것들을 통하여 공연을 하고, 관객들의 평가에 의해 하나의 의미를 부여받으면서 새로운 이미지를 창조하는 것이다. 무용치료는 ‘정서’와 감정을 깊이 ‘통찰’하고 ‘해석’하며 이것은 자발성이라고 하여 자신만의 움직임 어휘로 이루어지며, 일상생활에서 변화되어 평가되어진다. 이러한 무용이 창작무용과 무용치료에서 움직임원리를 확대시켜주며, 나아가야 할 방향을 제시할 수 있는 방법론의 하나가 될 것이다. 전달방식이 어떠한 요인에 의해 표출되는가에 대해 이해하고 창작무용과 무용치료를 통해 자유로움과 예술성, 심리적 요소를 확대시켜 실용방안에 기여할 것으로 기대된다.

한국무용 창작수업 사례를 통한 창작무용수업의 인식에 관한 연구 : 예술고등학교를 중심으로

박부희 한국무용연구회 2007 한국무용연구 Vol.25 No.2

창작무용은 학생들에게 새로운 세계의 지식과 자아표현의 길을 열어준다. (Gilbert. 1992:4) 창작무용의 목적은 움직임을 통한 의사 전달이며 자신의 내적욕구를 가장 개성적이며 독자적으로 표현하는 것이다. (Joyce. 1980: 1-2) 창작무용은 문제해결력, 자아인식, 집중력, 타인에 대한 수용과 존경심. 그리고 인지발달을 촉진시킨다. 위 학자들의 견해를 종합해 보면 창작무용은 자기 자신을 알게하는 방법이며 자아표현을 통해 문제해결능력, 자아인식, 집중력, 타인에 대한 수용과 존경심 그리고 인지발달을 촉진시키는 학생들의 성장발달에 매우 유익한 방법이라고 말할 수 있다. Placet(1983)에 의하면. 체육교사들이 인식하는 수업에서의 성공, 즉 좋은 수업의 개념은 수업활동에서 학생들이 잘 참여하고 (busy). 수업상황에서 학생들이 즐거워하며(happy), 수업상황에서 학생들이 교사의 지시를 잘 따르는(good)수업으로 정의를 내리고 있다. 또 다른 측면에서 송상현(2000)은 좋은 수업은 교사가 수업을 통하여 기대했던 학습목표가 충분히 달성되어 학습자들이 지적, 정의적인 충족감을 느끼면서 다음 수업시간이 기다려지는 수업으로 정의하였다. 이처럼 수업은 효율성 연구에서 강조하는 학생의 학업성취뿐만 아니라, 학생의 흥미, 관심, 참여와 같은 학생 행동의 측면까지 모두 고려할 필요가 있다. 그렇다면 인간의 정서를 표현 하는 중요한 교과중의 하나로써 무용교육의 장에서는 창작무용 수업을 어떻게 인식하고 있는지를 알아보고자 한다, 이러한 창작예술의 무용교육은 창의적인 신체활동을 통하여 학습자의 신체적, 지적, 정신적 그리고 사회적인 다양한 면의 향상에 フI여할 수 있다. The creative dance opens the path to the knowledge and self-expression of the new world to the students. (Gilbert, 1992:4) The objective of the creative dance is to convey the intention through the movements, and to express his own inner desire most personally and individually. (Joyce, 1980:1-2) The creative dance promotes the problem solution ability, awareness of the ego, concentration, accommodation and respect for others and development of the legal recognition. If we synthesize the views of the above scholars, the creative dance is the method to have others know about himself and can be said to be the very beneficial method for the growth development of the students which promotes problem solution ability, awareness of the ego, concentration, accommodation and respect for others and development of the acknowledgement. According to Placet(1983), the success at the lessons which the teachers of the physical education recognize, that is, the concept of the good lessons are defined as the good lessons in which students become busy at the lessons activity, become happy at the lessons situations,and follow the instructions of the teachers well at the lessons situations. Also, in other aspect, Sang Hyun Song(2000) defined the good lessons as the ones in which after a readier attain the objective of the study he expected, sufficiently, through the lessons, learners wait for the next lesson hour, feeling the intellectual and definable sense of being enough. In this manner, the lessons are not only the attainment of the study by the students which is emphasized in the study of the efficiency bur also they are required to consider as much as all sides of the behaviors of the students such as their interest, concern, and participation. Then, in the arena of the dance education as one of the important curriculum which expresses the emotion of the human being, we attempt to find out how it recognizes the good lessons of the creative dance. The dance education of such creative art may contribute to the enhancement of the diverse aspects of such as physical, intellectual, spiritual and social elements of the learners through their creative physical activities. Therefore, this research intends to become the opportunity to recognize the meaning of the lessons of the creative dance in the Arr High School, by conducting the qualitative study for the good recognition of the creative dance lessons by the dance teachers and students.

탈놀이의 표현기법을 통한 한국 창작춤의 새로운 접근

윤미라 ( Mi Ra Yoon ) 대한무용학회 2007 대한무용학회논문집 Vol.51 No.-

The masked play can be said to be the dance containing both the theatrical element and the dance element of folk dance. In general, it can be divided into Haeseo masked dance of the northern district Sandae play of the central district and Deulnoleum and Ohkwangdae of the southern district. This study attempted to compare and analyze masked play according to its regional districts and kinds. And it sought to investigate the expressive technique embedded in masked plan alone by classifying the theatrical and dance element into the content element, dramatic element and dance element. Second, this study not only laid the foundation for this expressive technique to be applied to Korean creative dance by illuminating it from many angles but also attempted to make a creative approach through the combination of the traditional folk drama and dance of play and festival. An attempt was made to investigate the scheme to attempt a new creative approach through the grafting of Korean creative dance and general dance based on the expressive technique of masked play by dividing it into the ceremonial aspect, the expressive aspect and the dramatic aspect. First, it is possible to investigate the ceremonial aspect of masked play by dividing it into the ceremony of exorcism, the ceremony of birth and the ceremony of shamanism. The ceremony of exorcism is the ceremonial one that is performed largely in the beginning of drama. The ceremony of shamanism is the one performed at the end of drama. The meaning of its sequence is important, and the ceremony of birth after death has a large meaning related to the thought of the transmigration of souls. The ceremonial aspect of this masked play are not simply related to the past ceremony but also has an influence on the thought and emotion of contemporary creative dance. Korean creative dance expresses the world of shamanic death originating from offering the sacrifice ritual to the heaven and has the thought and emotion that only our dance has in creative performance. Contemporary Korean creative dance not simply refers to contemporary dance but also contains several ceremonial aspects inherent in traditional Korean dance. One of the distinguishing features of foreign dance and Korean dance is that this ceremonial dance is expressed in subject and content. Contemporary dance accommodates the aspect of traditional thought as well as something new. It is thought that this can be drawn from the ceremonial aspect found in masked dance, one of traditional Korean dances. Second, an investigation into the expressive aspect of masked play revealed that it could be divided into the emotional aspect, the formal aspect of play-performing method and the aspect of Yin and Yang and Five Elements. Masked dance, overall, expresses human feelings such as joy and anger together with sorrow and pleasure in the method of its play development. Especially, it expresses human feelings expressed in Korean dance such as exhilaration, pleasure, sorrow and remorse, and this emotional aspect finds remarkable expression through the musical element of masked dance and the expression of the mask. The subject of masked play was to share and criticize the realistic problem of the day. Dance movements were created by collective exhilaration to fit the times. Contemporary Korean creative dance should be able to choose the subject that the general public can share and enjoy and should be movements appropriate to this age. It is necessary to approach it with the Korean sentiments of joy and anger together with sorrow and pleasure in the work of dance. Accordingly, we could approach new creative dance if we are to identify the emphasis of movement contained in masked play, develop a new dance language and extend expressive techniques. Finally, the element of Yin and Yang and Five Elements finds expression space, dance movement and costume. Dance movements can be seen as consistent with the oriental concept rooted as arts in life by integra

상상력 기반 초등 5~6학년 무용 창작 프로그램 개발

최상철 ( Sang-cheul Choe ) 한국무용예술학회 2013 무용예술학연구 Vol.44 No.5

Under the social situation of widespread sense of crisis for public education, recently, new government emphasizes innovation to the ‘happy education’ as a part to overcome such crisis of education essentially. Such innovation should start from educational practice of encouraging children’s childishness so that they would be able to look at the world in a new viewpoint and exhibit their ‘innocent curiosity’ and ‘free and abundant imagination’ fully. The imaginative education itself is an ideal educational practice that can protect children’s lost ‘childishness’ and ‘innocent curiosity’. It will also be one of the shortcuts to recover the intrinsic value of lost public education and to enhance the competitiveness of public education. In this context, it is necessary to pay attention to the ‘13 thinking tools’ that are recently suggested by Root-Bernstein & Root-Bernstein(1999) while advocating the need for education based on creative imagination. The 13 thinking tools beingsuggested by Bernstein are thinking skills that have been commonly used by the persons showing creativity in a variety of fields until they obtain creative products. And Bernstein defined them as ‘the 13 tools for learning imagination-leading to creation’. The researcher thinks it is worthwhile to consider application of these 13 thinking tools as the teaching-learning principle in the imagination education. In fact, discussions about the educational effectiveness of these tools have been mentioned in many research findings recently. According to these previous studies, as the result of applying these 13 thinking tools to general creativity, gifted inventor, gardening, convergence education of arts and science, robot education and dance education programs, it has been proven that these programs contribute to improving imagination, creativity and flexibility, etc. as the sub-elements of creativity. Results of this study become practical base for proving the effectiveness and justification of applying the 13 thinking tools to educational sites. Therefore, the purpose of this study is to develop and suggest ‘an imagination-based creative dance program for elementary school 5th-6th graders’ by using the 13 thinking tools so that lost imagination would be evoked in the public education and children would be able to stretch their imagination fully. In order to achieve the key objective of this study, first of all, in this paper, the researcher intends to prepare theoretical foundation for the meaning and role of imagination in elementary creative dance education on the subject of imagination and children, and creative dance class as ‘an artistic creation’ play. On the basis of such foundation, the researcher introduces procedures and contents related to development of a program and suggests an imagination-based creative dance program for elementary school students. This study would be meaningful in suggesting one extensive method for elementary school creative dance education.

대학생의 창의적 메타인지와 동기 및 창의성과의 관계에서 창의적 잠재력의 조절효과: 컨템포러리 댄스의 관점

장혜주 학습자중심교과교육학회 2024 학습자중심교과교육연구 Vol.24 No.22

Objectives The purpose of this study was to examine the validity and reliability of the Creativity Motivation Scale (Zhang et al., 2018) among college dance students and to determine whether the effect of creativity motivation on mediating the relationship between creative metacognition and creativity is moderated by the level of creative potential. Methods Study 1 was conducted with 124 undergraduate dance students (15 males, 109 females) to explore the factor structure of the Korean adapted creativity motivation scale. Data were analyzed using descriptive statistics, exploratory factor analysis, and internal consistency analysis. Study 2 was conducted on 413 dance majors (53 males, 360 females) to test the validity and reliability of the Korean version of the creativity motivation scale and to examine the moderated mediating effects of creativity motivation and creative potential on the relationship between creative metacognition and creativity. The data were processed through descriptive statistics, confirmatory factor analysis, correlation analysis, internal consistency. Results The confirmatory factor analysis in Study 1 resulted in a factor of 1 with 9 items extracted, accounting for 58.04% of the total variance. The reliability was ɑ=.905. The results of the confirmatory factor analysis in Study 2 indicated that the three-factor, nine-item measurement model was a good fit for the data. Internal reliability was very good (Cronbach's ɑ=.913, McDonald's =.913). The results of the regression analysis showed that creativity motivation partially mediated the relationship between creative metacognition and creativity, and the mediating effect of creativity motivation was moderated by the level of creative potential. Conclusions The findings suggest that enhancing creative metacognition, creativity motivation, and creative potential is necessary to foster choreographic competence and promote creativity in contemporary dance among college dance students.

현대무용을 통한 창의성 가르치기 -창의적인 교수방법을 통한 창의성 학습

김나이 ( Na Ye Kim ) 무용역사기록학회 2012 무용역사기록학 Vol.26 No.-

This study explores the pedagogical significance of and pedagogical methods used in modern dance education, bringing awareness to teacher behaviors that influence the development of students`creative ability. It is widely acknowledged that dance, alongside other arts subjects, has an advantage in the curriculum with its embedded creativity. However, in an Ofsted(2006) report, it was recognized that``sometimes in art subjects creativity was assumed when it was not necessarily evident.``Therefore, this study investigates teaching creativity by teaching creatively to seek new ways of enhancing creativity learning in modern dance education. The study uses a qualitative case study method to identify (1) what aspects of creativity are learned through modern dance, (2) what teaching creatively actually consists of in modern dance, and (3) what the relationship is between learning and teaching creativity in modern dance. Moreover, this study explores some essential elements of creative teaching and learning in dance, bringing awareness and sensitivity to pedagogical methods that affect students`creativity learning in dance. Focus is sought regarding the teachers` need to become responsible in taking on the role of teaching creatively such that dance in the curriculum can meet the expectations of fostering creativity. For possible future directions, the paper discusses implications for dance teacher education and suggestions for building replicable pedagogical principles to foster creativity within modern dance education.