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    즉흥무용 수업에서 나타난 신체・정서・관계 경험의 내러티브탐구 = A Narrative Inquiry into Physical, Emotional and Relational Experiences in Improvisational Dance Education

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    https://www.riss.kr/link?id=A110163190

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    This study examined the embodied, emotional, relational, and spatial experiences of undergraduate dance students participating in an improvisational dance class using a narrative approach. Six third-year female modern dance ma jors were purposively selected, and data were collected through participant observation and QR-based narrative journals over ten weeks. Data were analyzed by categorizing meaning units based on Clandinin and Connelly’s three-dimensional narrative inquiry framework.
    The findings showed that students gradually overcame initial unfamiliarity and anxiety, developing greater bodily trust and expressive freedom. Contact improvisation facilitated emotional shifts from tension to trust and empathy, enhancing relational communication. Serendipitous movements and heightened awareness of space and energy promoted self-awareness and creative exploration. These results suggest that improvisational dance functions as a holistic learning context beyond technique-centered training and should be considered a core component of university dance education.
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    This study examined the embodied, emotional, relational, and spatial experiences of undergraduate dance students participating in an improvisational dance class using a narrative approach. Six third-year female modern dance ma jors were purposively se...

    This study examined the embodied, emotional, relational, and spatial experiences of undergraduate dance students participating in an improvisational dance class using a narrative approach. Six third-year female modern dance ma jors were purposively selected, and data were collected through participant observation and QR-based narrative journals over ten weeks. Data were analyzed by categorizing meaning units based on Clandinin and Connelly’s three-dimensional narrative inquiry framework.
    The findings showed that students gradually overcame initial unfamiliarity and anxiety, developing greater bodily trust and expressive freedom. Contact improvisation facilitated emotional shifts from tension to trust and empathy, enhancing relational communication. Serendipitous movements and heightened awareness of space and energy promoted self-awareness and creative exploration. These results suggest that improvisational dance functions as a holistic learning context beyond technique-centered training and should be considered a core component of university dance education.

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