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 ) 한국무용기록학회 2013 무용역사기록학 Vol.31 No.-

아동의 창의성 계발에 관한 관심과 교육적 접근은 다양한 학술 및 예술분야에서 활발하게 이루어지고 있다. 경험으로서의 교육, 즉 전공자 위주의 교육이 아닌 비전공자가 움직임을 만들고 이를 공연으로 올리는 과정에 중점을 둔다. 무용분야에서도 아동의 창의력과 상상력 발달을 위해서 무용창작수업을 다양한 교육기관에서 시행하고 있다. 이는 한국뿐 아니라 미국에서도 활발하게 이루어지고 있으며 다양한 교육 프로그램에 대한 연구도 계속적으로 진행하고 있다.본 연구에서는 현재 무용교육에서 지향하고 있는 창의성과 관련한 무용수업을 살펴보고자 한다. 이에 따라 무용창작수업의 절차, 교수전략 및 동기부여 등 아동의 무용창작수업과 관련한 이론적 배경을 제공한다. 또한 미국 뉴욕시의 한 초등학교 5학년 무용창작수업을 사례로 소개하고 있다. 선행연구, 수업 계획서, 수업참관, 그리고 교사와의 인터뷰를 분석하여 연구 자료를 수집하였다.본 연구결과를 통해 첫째, 무용창작수업에 사용되는 정형화된 구조를 파악할 수 있다. 둘째, 무용창작 수업의 내용이 공연으로 이어지는 과정을 수업사례를 통해 이해할 수 있다. 셋째, 무용창작수업이 활성화를 위해 시행되고 있는 미국의 아웃리치 프로그램을 알 수 있다. 본 연구에서 제시한 미국의 무용창작수업 사례를 통해 무용창작수업에 대한 실질적인 이해와 다양한 아웃리치 프로그램에 대한 연구와 실천의 필요성을 확인할 수 있을 것이다. 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.

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

무용전공 학생용 창의적 자기개념 척도의 타당화 및 측정 불변성 검증

장혜주 학습자중심교과교육학회 2024 학습자중심교과교육연구 Vol.24 No.4

목적 본 연구의 목적은 무용을 전공하는 고등학생과 대학생을 위해 국문으로 번안된 2요인 11문항의 단축형 창의적 자기개념 척도(A Short Scale of Creative Self-Concept; Karwowski, 2011; Karwowski, Lebuda, & Wiśniewska, 2018)의 타당도와신뢰도를 검증하고, 집단 간의 측정모형 불변성을 검증하는 데에 있다. 방법 연구 1은 국문판으로 번안된 단축형 창의적 자기개념 척도의 잠재적 요인구조를 탐색하기 위하여 158명(고등학생=75명, 대학생=83명)을 대상으로 실시되었다. 자료는 기술통계, 주성분 분석 및 내적 일관성 분석을 이용하여 분석되었다. 연구 2는 국문판단축형 창의적 자기개념 척도의 타당도와 신뢰도 그리고 측정 불변성을 검증하기 위하여 총 715명(고등학생=343명, 대학생=372 명)에게 실시되었다. 자료는 동시 타당도 검증을 위한 2개의 질문지(무용 정체성, 창의적 자기효능감 척도)와 예측 타당도 검증을위한 1개의 질문지(창의적 동기특성 척도)를 이용하여 수집되었으며, 확인적 요인분석, 상관분석, 회귀분석, 내적 일관성 분석 및다집단 확인적 요인분석을 통해 분석되었다. 결과 연구 1에서 주성분 분석의 결과는 2요인 9문항(창의적 자기효능감=5문항; 창의적 개인 정체성=4문항)이 추출되었고, 총 분산의 72.40%를 차지한 것으로 나타났다. 연구 2에서 확인적 요인분석의 결과는 9문항의 측정모형이 자료에 적합한 것으로 나타났다(²=293.84, df=26, p=.001, CFI=.931, TLI= .905, RMSEA=.070). 창의적 자기개념의 하위척도는 무용 정체성과 창의적자기효능감 사이에 .39에서 .80까지의 정적 상관을 보였고, 내적동기와 외적동기 및 무동기를 정적으로 예측하였다. 다집단 확인적요인분석의 결과, 고등학생과 대학생 집단 간 완전 형태 불변성은 충족된 반면에, 메트릭 불변성과 스칼라 불변성은 부분적으로 성립되었다. 개념 신뢰도와 내적 일관성 계수는 모두 0.80 이상의 값을 보였다. 결론 본 결과는 국문판 단축형 창의적 자기개념 척도가 무용을 전공하는 고등학생과 대학생들의 창의적 자기효능감과 창의적 개인정체성을 측정하는데 적용될 수 있음을 시사한다. Objectives The purpose of this study is to examine the validity and reliability of Korean version of the Short Scale of Creative Self-Concept (Karwowski, 2011; Karwowski et al., 2018) and test the measurement equivalence across high school and college students majoring in dance. Methods Two studies were conducted. Study 1 was conducted with 158 participants (high school students=75, college students=83) to explore the potential factor structure of the shortened creative self-concept scale adapted into Korean version. Data were analyzed using descriptive statistics, principal component analysis, and internal consistency analysis. Study 2 was conducted with a total of 715 participants (high school students=343, college students=372) to examine the validity and reliability of the Korean version of the Short Scale of Creative Self-Concept. Data were collected using two other questionnaires for concurrent validity and one questionnaire for predictive validity, and analyzed using confirmatory factor analysis, correlation, regression analysis, internal consistency analysis, and multi-group confirmatory factor analysis. Results In Study 1, the results of the principal component analysis showed that 9 items were extracted from 2 factors (creative self-efficacy=5 items; creative personal identity=4 items), accounting for 72.40% of the total variance. The results of the confirmatory factor analysis in Study 2 showed that the 10-item measurement model fit the data (²=293.84, df=26, p=.001, CFI=.931, TLI=.905, RMSEA=.070; 90%CI: .068, .093). The creative self-concept subscale showed static correlations ranging from .39 to .80 between dance identity and creative self-efficacy, and positively predicted intrinsic motivation, extrinsic motivation, and amotivation. Measurement coefficients, structural covariance, and measurement residuals were variant between high school and college students, and conceptual reliability and internal consistency coefficients were all above 0.80. Conclusions Results suggest that the Short Form Creative Self-Concept Scale can be applied to measure creative self-efficacy and creative personal identity of dance major’s students.

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.

현대무용을 통한 창의성 가르치기 -창의적인 교수방법을 통한 창의성 학습

김나이 한국무용기록학회 2012 무용역사기록학 Vol.26 No.-

현대무용을 포함한 예술 교과목들은 창의성 개발을 목표로 하고 있다. 하지만 Ofsted(2006) 보고서에 따르면, 예술교육을 통한 창의성 학습은 추측에 머무를 가능성이 큰 것으로 나타났다. 따라서 본 연구는 현대무용교육을 통한 창의성 학습에 영향을 미치는 요인과, 이를 위한 창의적인 교수방법을 살펴보고자 한다. 즉, 창의적인 학습을 위한 창의적인 교수방법을 탐색함으로써 현대무용에 내재되어있는 창의성을 보다 효과적으로 함양 시킬 수 있는 방법을 알아본다. 본 연구는 질적 사례 연구로 참여관찰, 심층면담, 개방형 설문을 실시하였고, 이와 함께 관련문헌자료를 분석하여 결과를 도출하였다. 연구 목적에 따라, 첫째, 현대무용에서 길러지는 창의성은 무엇인가? 둘째, 이를 위한 창의적 교수방법은 무엇인가? 마지막으로, 창의성 학습과 창의적인 교수방법은 어떠한 관계를 이루는가? 라는 세 가지 연구문제를 설정하였다. 결과와 논의를 통해서 첫째, 현대무용 교육을 통해 학습자들은‘탐구’능력을 기를 수 있는 것으로 나타났고, 이를 위한 교수자의 창의적인 교수방법으로는‘조화’능력이 뛰어나야 하는 것으로 나타났다. 마지막으로 창의성 학습을 위하여 창의적인 교수방법의 중요성을 부각시키며 현대무용의 내재된 창의성을 불러일으키기 위해서는 교수자의 역할이 매우 중요한 것으로 나타났다. 따라서 현대무용은 창의성 개발을 도모 할 수 있으며, 이를 이루기 위해 더욱더 체계적인 창의적인 교수방법이 교사교육에 이루어져야할 것이다. 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.

연구주제 분석을 통한 한국창작무용 경향 탐색 : 텍스트 마이닝의 적용

유지영(Ji-Young Yoo),김우경(Woo-Kyung Kim) 한국엔터테인먼트산업학회 2020 한국엔터테인먼트산업학회논문지 Vol.14 No.6

이 연구는 현상의 흐름과 연구의 경향이 맥락적으로 일치한다는 가정을 바탕에 두고 있다. 이에 텍스트 마이닝을 활용하여 한국창작무용 연구의 주제 분석을 통해 춤의 경향을 탐색하는 것에 목적이 있다. 이에 논문 검색 웹사이트에 구축되어 있는 616편의 논문제목에서 1,291개의 단어를 분석하였다. 데이터의 수집 및 정제, 분석은 모두 R 3.6.0 SW을 사용하였다. 연구결과 첫째, 2000년대 이전에는 시대를 나타내는 키워드가 높은 빈도를 나타내었으나 교육 및 신체훈련 측면에서의 한국창작무용 연구유형도 발견되었다. 둘째, 2000년대 이후에는 무용단의 공연활동과 관련된 키워드의 빈도가 높게 나타났으나 최승희가 여전히 한국창작무용 연구에서 중요한 위치에 있다는 것이 확인되었다. 셋째, 한국창작무용 연구의 전체 연구주제를 분석한 결과 ‘근대시대 최승희의 예술’, ‘현대 전통의 수용 양상과 가치’, ‘전통춤의 안무적 표현 및 활용’, ‘국립무용단의 공연 활동’, ‘시대별 춤 표현’, ‘교육 프로그램의 적용’으로 총 6개의 토픽이 추출되었다. 이 중 ‘근대시대 최승희의 예술’에 관한 연구가 가장 높은 비중을 차지하고 있는 것으로 나타났다. 넷째, 2000년을 기준으로 상승하고 있는 Hot 토픽은 ‘국립무용단의 공연 활동’과 ‘전통춤의 안무적 표현 및 활용’으로 나타났다. 그러나 최근 국립무용단의 공연 기조가 ‘전통을 기반으로 한 현대화’를 표방하고 있으므로 2000년대 이후 한국창작무용의 경향이 전통춤을 모티프로 한 안무적 표현과 그 활용에 공통적으로 집중되어 있음이 확인되었다. 다섯째, 2000년을 기준으로 하락하고 있는 Cold 토픽은 ‘시대별 춤 표현’에 관한 연구로 나타났다. 이것은 한국창작춤의 장르적 정착 이후 다양한 춤 스타일의 혼재에 따른 경향으로 연구에 대한 관심도 역시 저하된 것으로 판단되었다. The study is based on the assumption that the trend of phenomena and trends in research are contextually consistent. Therefore the purpose of this study is to explore the trend of dance through the subject analysis of the Korean creative dance study by utilizing text mining. Thus, 1,291 words were analyzed in the 616 journal title, which were established on the paper search website. The collection, refining and analysis of the data were all R 3.6.0 SW. According to the study, keywords representing the times were frequently used before the 2000s, but Korean creative dance research types were also found in terms of education and physical training. Second, the frequency of keywords related to the dance troupe"s performance was high after the 2000s, but it was confirmed that Choi Seung-hee was still in an important position in the study of Korean creative dance. Third, an analysis of the overall research subjects of the Korean creative dance study showed that the research on ‘Art of Choi Seung-hee in the modern era’ was the highest proportion. Fourth, the Hot Topics, which are rising as of 2000, appeared as "the performance activities of the National Dance Company" and "the choreography expression and utilization of traditional dance". However, since the recent trend of the National Dance Company"s performance is advocating "modernization based on tradition", it has been confirmed that the trend of Korean creative dance since the 2000s has been focused on the use of traditional dance motifs. Fifth, the Cold Topic, which has been falling as of 2000, has been shown to be a study of "dancing expressions by age". It was judged that interest in research also decreased due to the tendency to mix various dance styles after the establishment of the genre of Korean creative dance.

무용 창의성 검사 개발

오레지나 ( Regina Oh ) 한국무용교육학회 2012 韓國舞踊敎育學會誌 Vol.23 No.1

This research achieved the development of dance creativity test with reliability and validity based on the dance creativity factors. "Dance creativity" means the ability and attitude to make new dance images and values. The concept of dance creativity has been evolved from general creativity into dance. Dance creativity is tested by the works made by a trainee. The test-factors for dance creativity are the movement sense, esthetic sensibility, dance intellectuality, and dance working composition ability. In this study, we selected 10 questions for dance intellectuality, esthetic sensibility, and dance working composition ability. Also, we developed the final test form which includes the blank for expressing other opinions that complement the test. This research will provide some reliable and valid basis, and guidelines to select gifted persons in dance.