최승희 무용예술을 활용한 중·고등학교 다문화무용교육 프로그램 개발연구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2016 무용예술학연구 Vol.61 No.4

The purpose of this study was to develop a multicultural dance education program utilizing Choi Seung hee’s dance art on 34 students in a middle school and 33 students in a high school in Seoul. Based on the model by Lee Sang gab (Preparation, Development and Improvement), a multicultural dance education program was developed through literature study and field study. The multicultural dance education program was modified and supplemented by the evaluation of experts and students, and the final program was developed as 11 units for middle school and 7 units for high school.

최승희 무용예술의 다문화무용교육표준에 관한 연구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2014 무용예술학연구 Vol.51 No.6

The objective of this study was to establish a multicultural dance education standard in elementary and secondary schools, using Choi Seung hee’s dance art as a teaching medium. The plan was drafted first through a specialist council, and the validity of the contents were tested through a questionnaire survey of 15 advisors. The results of this study were as follows. First, in the elementary school, the expectation level of communication in the1st the 2nd grades, the expectation level of performance and creation in the 5th and 6th grades, and the goals and expectation level of communication in the 5th and 6th grades were found inadequate. Second, in the middle school, all the goals of performance, creation, appreciation, and communication were adequate. Third, in the high school, all the goals and expectation levels of performance, creation, appreciation, and communication were adequate.

최승희 무용예술을 활용한 초등학교 다문화 무용교육 프로그램 개발연구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2015 무용예술학연구 Vol.54 No.3

The objective of this study was to develop a multicultural dance education program for elementary school children using Choi Seung hee’s dance art. As to research methods, this study planned the lessons of the multicultural dance program applicable to elementary school children using sources retrieved from literature review and field studies. Based on Lee Sang gap’s model, the program was designed to have three stages (preparation, development, and improvement). The goals and contents of learning were organized according to the five themes presented in the preparation stage, and 10 sessions of multicultural dance education were designed. In the improvement stage, multicultural dance education expanded to 12 sessions for an effective learning.

일반논문 : 미국 서부 지역의 무형문화유산 한국춤 전승에 관한 연구

유미희 ( Mi Hee Yoo ) 한국공연문화학회(구 한국고전희곡학회) 2015 공연문화연구 Vol.0 No.30

이 논문은 미국 서부지역에 거주하는 한인들의 무형문화유산인 한국춤의 전승양상을 고찰하는데 그 목적이 있다. 현지조사를 중심으로 LA, 라스베이거스, 시애틀, 하와이 지역에서 가장 왕성하게 활동하고 있는 한국춤단체를 연구대상으로 하여 심층면담과 관련 비디오 분석을 통해 한국춤 전승방법과 연행형태를 춤 종목별로 조사함으로써 해외 무형문화유산으로서의 한국춤 전승의 특징과 의의를 살펴보았다. 본 연구의 결과는 다음과 같다. 첫째, 전승주체자가 이민 제1세대로서 개인 무용가의 학습이력에 따라 한국의 전통춤을 원형 그대로 보존, 유지하는데 역점을 두고 있다. LA, 라스베이거스, 시애틀, 그리고 하와이의 전승주체자들은 중요무형문화재춤과 더불어 신무용계열의 창작춤을 전승하고 있다. 즉, 중요무형문화재로 지정된 춤들을 중심으로 이매방류, 한영숙류, 그리고 강선영류의 춤이 유파별로 전승되고 있으며 그주요 종목으로는 <살풀이춤>, <입춤>, <태평무>, <무당춤>과 신무용계열의 <부채춤>과 <노인춤>이 있다. 둘째, 소수민족으로서의 문화정체성유지에 집중하여 전승하고 있다. 셋째, 신무용의 양대산맥인 최승희와 배구자의 영향을 살펴 볼 수 있는 사적자료로서 근대무용의 중요한 특성을 확인할 수 있다. 권려성은 1948년에서 1950년까지 3년간 최승희에게서 사사받아 춤을 학습했으며 1960년대 한국무용의 대표 주자로서, 그녀의 춤은 최승희의 신무용적 표현을 반영하고 있다. 창작물 <부채춤>에 나타난 조형적인 포즈, 신체를 직립으로 수직적인 자세에서 상체와 하체의 비틀기를 통해 나타나는 대각선의 강조, 45도각도의 응시 등은 최승희의 근대무용에서 볼 수 있는 신무용의 특성을 보여주고 있다. 한편 한라함전통무용연구소의 초대소장인 고(故) 배한라의 <무당춤>과 <노인춤>에 나타난 연극적인 몸짓과 스타카토식의 절도 있는 움직임, 해학적인 몸짓 등은 음악, 무용, 연극의 총체적인 가무극을 시도했던 스승 배구자의 영향을 유추해 볼 수 있으며 결과적으로 나타난 한라함전통무용연구소의 춤은 일본, 한국, 하와이에 거주했던 배한라의 문화적 여정에 따라 전통춤과 신무용의 특성이 혼재된 다채로운 양상으로 여타 미주지역의 춤과 차별성을 지니고 있다. The objective of this study was to examine the pattern of transmission of Korean t dances as intangible cultural heritages among Koreans living in the western region of the U.S. This study explored Korean traditional dance organizations working most actively in LA, Las Vegas, Seattle, and Hawaii mainly through field surveys, and analyzed the methods of transmission and performance styles of Korean traditional dances through in depth interviews and related videos. By these works, we examined how Korean traditional dances were being handed down as overseas cultural heritages. The results of this study are as follows. First, the transmitters are 1st-generation immigrants, and efforts are being made to preserve and maintain the original form of Korean traditional dances according to individual dancers`` history of learning. The transmitters in LA, Las Vegas, Seattle, and Hawaii are transmitting dances designated as important intangible cultural assets and created dances of new styles. That is, dances designated as important intangible cultural assets of mainly Lee Mae-bang line, Han Yeong-sook line, and Kang Seon-yeong line are transmitted by group, and major dances transmitted are <Salpuri Dance>, <Ipchum Dance>, <Taepyeongmu Dance>, and <Shaman Dance>, and new dances such as <Fan Dance> and <Old Man Dance>. Second, transmission is focused on the maintenance of the cultural identity of Korean people as a minority. Third, the important characteristics of modern dances were confirmed as historical materials showing the influence of Choi Seung-hee and Pae Gu-ja, the two prominent leaders of new dance. Stella Kwon(Kwon Ryeo-seong) learned dance from Choi Seung-hee for three years from 1948 to 1950, and as a representative leader of Korean dance in the 1960s, she expressed Choi Seung-hee``s new dance styles in her dances. The features observed in creative dance <Fan Dance> such as formative poses, emphasis on diagonal lines formed through the twisting of the upper and lower body standing vertically, and staring at 45 reflect the characteristics of new dance found only in Choi Seung-hee``s modern dances. On the other hand, the dramatic motions, staccatic movements, and humorous gestures observed in <Shaman Dance> and <Old Man Dance> danced by the late Pae Hal-la, the first director of Halla-Huhm Traditional Dance Research Institute, suggest the influence of her teacher Pae Gu-ja who tried total musicals combining music, dance, and drama, and consequently created dances of Halla-Huhm Traditional Dance Research Institute bear the mixture of diverse styles of traditional and new dances obtained through the cultural journey of Pae Hal-la who had lived in Japan, Korea and Hawaii, so are distinguished from dances in other regions in the U.S.

다문화 수업과 무용수업에 따른 미국대학 학생의 다문화 인식의 차이

유미희(Mi Hee Yoo) 한국여성체육학회 2012 한국여성체육학회지 Vol.26 No.1

The objectives of this study were to examine how multicultural class and dance class affect American college and graduate students multicultural awareness and to provide basic materials for dance education as a part of multicultural education in the future. For this study, we sampled 99 students attending the multicultural class at the University of Hawaii in the U.S. in 2011 through random sampling and surveyed them using a questionnaire. Collected data were analyzed with SPSS 13.0 through descriptive analysis, t-test, and one-way ANOVA, and results were obtained as follows. First, with regard to difference in multicultural awareness according to gender, difference was observed in female students. They showed a higher level of awareness than male ones. Second, with regard to difference in multicultural awareness according to school year, difference was observed in change in multicultural interest and awareness after ethnic dance class. Third, with regard to difference in multicultural awareness according to past experience in multicultural classes, significant difference was observed in the usefulness of multicultural class for understanding foreign countries society and culture. Fourth, with regard to difference in multicultural awareness according to whether to attend dance class, significant difference was observed in interest in foreign countries culture, the usefulness of dance class for understanding foreign countries society and culture, the contribution of ethnic dance to the society and culture of the U.S., the effect of dance on international exchange and service, and change in multicultural interest and awareness after ethnic dance class, and in general the level of awareness was higher in students attending dance class than in those not.

자유주의 페미니즘적 맥락에서 본 최승희의 삶과 무용의 재조명

유미희(Yoo Mi Hee) 한국여성체육학회 1997 한국여성체육학회지 Vol.11 No.-

This thesis has a purpose to examine how liberal feminism affected a Korean dancer, Choi Sung Hui. Feminism is a movement of woman humanization and points to a woman as creative human being with the aim of self-realization in various fields. Liberal feminism is a basic tradition of feminism in general. The appearance of Choi Sung Hui became a big issue in modern Korean society where modern women`s idelogy had just appeared and discourses on women`s started to occur, and her life and artistic achievement revolutionized Korean dance culture as Eastern Isadora Duncan. Choi Sung Hui was an autonomous woman who chose her proper life style and made her self-realization, and her artistic achievement can be valued as a pioneer of female culture, a creative woman with andregynous mind and an economically independent woman. The liberal woman shown through her dance was progressive as her life. A study on Choi Sung Hui`s life and dance as seen through liberal feminism can be the basis of groping for the foundation of feminism in Korean dance art.

움직임 분석을 통해 본 황무봉 춤의 표현양태 연구

유미희(Mi Hee Yoo) 한국여성체육학회 2005 한국여성체육학회지 Vol.19 No.6

중국 조선족 무용특징 연구

유미희 ( Mi Hee Yoo ) 한국공연문화학회(구 한국고전희곡학회) 2013 공연문화연구 Vol.0 No.27

본 연구는 길림민족록음록화출판사에서 2008년에 출판한 <조선족무용속성교재>를 중심으로 중국 조선족의 무용을 분석하였다. 문헌연구와 비디오분석을 연구방법으로 하여 영상물에 제시된 부채춤, 장고춤, 편고춤을 자넷 애드쉐드(Janer Adshead)외 3인이 개발한 무용분석기술과 개념들을 중심으로 분석하였다. 본 연구는 기본동작뿐 아니라 춤을 둘러싸고 있는 제반 요소를 분석하고 해석함으로써 조선족 무용의 특징을 총체적으로 고찰하여 해외무형문화재 자원으로서의 중국조선족 무용의 기초자료를 마련하고자 하였다. 본 연구결과는 다음과 같다. 첫째, 기본구성요소를 통해 보면 음악의 선율적 구조, 원형으로 잦은 걸음으로 빠르게 이동하는 공간사용, 스타카토식의 움직임, 포즈 위주의 정지 자세는경극에서도 살펴 볼 수 있는 움직임의 형태이며 특히 발끝을 쭉 편 채로 이루어지는 발끝의 움직임은 서양의 발레 뿐 아니라 중국무용에서 볼 수 있는 특징적형태로서 주류문화의 지배적인 중화적 색채를 담고 있음을 알 수 있다. 또한 전통적 민요나 장단의 사용, 긴장과 이완의 반복을 통해 움직임의 흐름을 끊임없이 이어가는 순환구조, 그리고 서정적이며 쾌활하고 낙천적 이미지의 연출 등은소수민족으로서의 조선 특유의 민족적 색채를 강조하는 것으로 중국과 한국의문화가 융합된 형태를 보이고 있다. 둘째, 한국과 중국의 융합적인 무용스타일은 일찍이 중국무용을 정립한 최승희의 예술적 성과의 결과이며 중국조선족 무용이해외 한민족의 다채로운 사회, 문화적 이력을 확인할 수 있는 통로임을 보여주는 것이라 할 수 있다. This study analyzes the Korean-Chinese`s dancing with special reference to A Quick Manual of the Korean-Chinese`s Dancing, published in 2008 by Gillim Minjok Rogeum Rokhwa Publication. Based on the techniques and concepts for dancing analysis developed by Janet Adshead and three persons, this study analyzes the Fan dance, Janggo dance, and Pyengo dance presented in the film in the methods of literature survey and video analysis. By analyzing and interpreting the whole elements surrounding the dance as well as basic motions, this study generally examines the characteristics of the Korean-Chinese`s dancing, and tries to provide basic data of the Korean-Chinese`s dancing as an overseas intangible cultural resource. The results of this study are as follows. First, as for basic components, the melodic structure of music, the use of space by moving round with quick steps, staccato movement, the posture of repose mainly with pauses are also seen from Peking Operas, in particular, the toe movement with toes stretched, a specific form that can be seen from Western ballet and Chinese dancing, contains the prevailing mainstream Mandarin colors. Also, the cyclic structure in which the flow of movements incessantly proceeds in terms of the use of traditional folksongs and rhythms, and repetition of tension and relax, and creation of lyric, cheerful, and optimistic images emphasize the ethnic colors of Koreans as a minority group, and hence show a form incorporating China`s and Korea`s cultures. Second, the dancing style incorporating Korean and Chinese cultures is result of the artistic achievements by Seung-hee Choe, who established Chinese dancing earlier, and can be taken to show that the Korean-Chinese`s dancing is a route to the identification of overseas Korean people`s colorful societies and cultural history.

전통사회의 여성과 무용에 대한 일고찰

유미희(Yoo Mi Hee) 한국여성체육학회 1995 한국여성체육학회지 Vol.9 No.-

한국의 "B-boy 댄스"에 나타난 청소년의 문화 담론특성 연구

유미희 ( Mi Hee Yoo ) 한국무용교육학회 2009 韓國舞踊敎育學會誌 Vol.20 No.1