The purpose of this study is to contribute to the desirable dancing education for the whole man in the 21st century by grasping not only the educational value presented by the dance education as a curriculum for the whole man but also the present situ...
The purpose of this study is to contribute to the desirable dancing education for the whole man in the 21st century by grasping not only the educational value presented by the dance education as a curriculum for the whole man but also the present situations and problems of the dance education performed in the Korean schools.
The subjects of this study are chosen from two groups:the students and the teachers. The former are 88 students of the Ewha Woman’s University except for those m a joring in dance and are asked about the situations of dance education they experienced in their junior and high school and of 'The creative dance’ they had been taught, if any, by a questionaire. The latter are 81 teachers of physical (or dance directors from the junior or high schools in Seoul area and are asked about their experience of dancing education by a questionaire.
The questions of the quenstionaire are differentiated between two groups as follews:in case of the students, 1) a genre(s) of dance in which they took lessons. 2) their experience fo seeing the dance performance, and 3) a genre of dance they want to take lessons if they have a chance to do are questioned. And in case of the teachers. 1) the methods of creative dance theaching, 2) dance education and 3) their recognition of the dance are questioned.
As reviewed and analyzed on the basis of the methodology said above comparing with present curricula, the study results in the following answers-
First for the education of dance by the teachers, their creative dances are different from one another.
Second, for the question of why the creative education is not thought much of, most of them say that they ‘are unable to teach the creative dance', because they ‘do not know themselves how to teach it, ’ It suggests that teachers did not study the creative dance either in their college years.
Third, teachers points two problems that they 'do not know hwo to express' and they have no proper place to practise dancing.
Four, it is discovered that the tasks to be achieved in the dance education of the school are to develop the educational creativity not to be one-sided to a formalism and also to improve its varions methodologies and practical studies further.
And finally, the problems to be solved in the near Future urgently are to secure right places to practise dancing to make the importance of the creative dance recognized, and to develop interesting teaching methods for the children and students as well.