무용의 창의성 개발을 위한 공간 개념의 교육적 적용 : 태극권과 라반의 공간개념을 중심으로 = An Educational Application of Spatial Concepts in Developing Creativity in Dance - A Focus on Taijiquan and Laban’s Spatial Theories

다국어 초록 (Multilingual Abstract)

In recent years, Chinese modern dance has shown an increasingly diversified development trend in both creative practice and education. Dance education is gradually shifting from a technique-centered training model to a teaching method that emphasizes body perception, awareness, and spatial awareness. This shift in teaching awareness not only changes the way movement is learned but also provides new conditions for the generation of dance creativity in the teaching process. This shift in teaching model has prompted scholars to rethink the cognitive pathways for the formation of the relationship between body and space in dance.
Against this background, this study conducts a comparative analysis of Taijiquan and Laban Movement Analysis, focusing on their respective approaches to bodily dynamics, spatial awareness, and the formation of movement structure. Drawing on the intrinsic spatial generation principles of Taijiquan and the analytical framework of Laban’s theory, this research explores the educational value and potential of cultivating spatial awareness and embodied understanding in modern dance education. In particular, by referencing the Taijiquan principle of “guiding Qi with intention(以意导气)” and the energetic structure of Laban’s Effort theory, this study proposes a continuous spatial cognition framework encompassing intrinsic space, dynamic space, and communicative space. Through this framework, this study aims to clarify how dancers construct a spatial cognitive structure based on internal sensation and energy awareness, and further reveal how dance creativity is formed within this spatial cognitive structure.
This study further proposes a learning pathway of “sensation–consciousness–space creation.” Through training practices such as breathing, centering, and energy awareness, dancers activate their proprioceptive systems and become sensitive to subtle changes in posture, tension, and balance. In this process, internal bodily sensations are gradually transformed into active spatial awareness.
The findings suggest that dance space should not be understood as a fixed external geometric container, but rather as a dynamic field constantly generated through the interaction of bodily awareness and energy flow. Spatial awareness does not originate directly from the external environment; rather, it presents itself as a subjective cognitive structure formed through a continuous transformation from inner sensation to spatial perception. From an educational perspective, this shift in spatial cognition from inner to outer reveals dual pedagogical value: cultivating inner space deepens dancers' perception of their body and inner energy, while expanding and communicating with space enhances their ability to connect with their environment and others, providing a cognitive foundation and spatial conditions for the generation of dance creativity. This perspective reflects a fundamental shift in modern dance education—from imitative training to sensory-driven exploratory learning. Therefore, the relationship between body, consciousness, and space is reinterpreted as a generative system centered on embodied perception, providing new theoretical insights for dance education.

목차 (Table of Contents)

• I. 서론 1
• 1. 연구의 필요성 및 목적 1
• 2. 연구문제 및 주제 13
• 3. 연구방법 및 제한점 14
• Ⅱ. 태극권과 라반의 공간 인식 체계와 움직임 특성 15
• 1. 무용교육에서 창의성 15
• 가. 무용교육에서의 창의성 개념 15
• 나. 창의성과 공간 개념의 관계 19
• 2. 태극권의 공간 인식과 활용 방식 22
• 가. 태극권의 '원()'형 공간 인식 개념 22
• 나. 태극권의 공간 활용 방식 28
• 3. 라반의 공간 인식과 활용 방식 37
• 가. 라반의 공간 인식 이론 개념 37
• 나. 라반의 공간 활용 방식 41
• 4. 태극권과 라반의 공간 인식 비교 분석 45
• 가. 공통점 45
• 나. 차이점 48
• Ⅲ. 태극권과 라반의 공간 인식을 기반으로 한 현대무용 교육에서의 공간 개념 51
• 1. 내재적 공간 인식 51
• 가. 내부 감각과 '기(氣)'의 공간 인식 형성 51
• 나. 내재적 공간 인식의 교육적 가치 55
• 2. 역동적 공간 인식 57
• 가. 역동적 공간의 생성 과정 57
• 나. 역동적 공간 인식의 교육적 가치 58
• 3. 소통적 공간 인식 63
• 가. 소통적 공간의 생성 과정 63
• 나. 소통적 공간 인식의 교육적 가치 64
• Ⅳ. 결론 69
• 참고문헌 73