몸성(性)교육에 관한 기초연구

오레지나 ( Oh¸ Regina ) 한국무용교육학회 2021 韓國舞踊敎育學會誌 Vol.32 No.3

This article examines the necessity of bodiness education and the desirable directions of it as well as the meaning of bodiness itself. In spite of its importance, education of body and its significance was neglected in the curricula focusing on the mental aspects, intellect and moral virtues. Approaching bodiness and understanding it is a way to overcome the limits of intellectualism in education. Bodiness is the quality in which material, spirit, will and energy are harmoniously combined in a human body. This combination based on genetic information crosses over form and formless. When a human communicates with the world and gains knowledge, he or she acquires bodiness. Therefore, bodiness is what gives an individual uniqueness and identity. Bodiness of an individual is the foundation of the elements in his or her characteristics such as personality, virtues, intelligence, creativity, and team spirit. Therefore, approaching bodiness is the very first step of the pedagogy. As bodiness education is the pedagogy through body toward self-realization, self-expressiveness and creativity, it should have several designed starting points. First, bodiness education begins with an understanding of the nature of life. It should be the education of body and self, based on one’s own body. Second, bodiness education should be the education that develops the potentiality of the body through various experiences. One accomplishes the balance of body and mind through a well-developed body. Third, bodiness education is not limited within the physical body itself. It aims the forming process of a mind in which the unification of an individual and the universe is realized. Fourth, it should be a form of education that promotes the ability of self-organization in the students.

쌍방향 소통을 위한 무용교수법의 원리 탐색

오레지나 ( Oh Regina ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.2

While mutual communication is an important discourse-topic of today, we still find the failure of communication in many aspects of society. In the effort toward mutual communication in society, education is not an exception. New principles for mutual communication in pedagogy overcoming the limits of traditional education need to be developed. The major values in the educational principle for mutual communication are reverence for life, qualitative paradigm, and shinmyeong (creative ecstasy) of sympathy and rapport. Shinmyeong, the creative ecstasy, emanating from within and restoring true self in one, is the motor for self-leading in education. After restoring the value of respect for humanity, the culture of shinmyeong in which humans respect each other and sympathize with each other should be built. Based on these major values, principles of the dance teaching method for mutual communication include openness (from the closed to the open), horizontality (from hierarchy to equality), communality (from the individual to the communal), and experience (from knowledge to creative experience).

대구지역 수건춤의 유형적 특성과 전승 가치

오레지나 ( Oh Regina ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.3

This study examines the characteristics and the significances of Sugeon-chum (fabric-dance) in Daegu region in order to re-establish its proper status as a form of traditional Korean dance. Sugeon-chum is called in various ways such as salpuri-chum, Ip-chum, Jeukheung-mu, Heoteun-chum, Gutgeori-chum, Heung-chum. The title of the traditional form varies by the performer and the region. Sugeon-chum in Daegu region has been descended in two streams, Jeongsosan-ryu and Parkjihong-ryu. During the performance, the dancer of Sugeon-chum in Daegu region makes various characteristic movements of the form including carrying the fabric in her mouth. With a rather short fabric, the movements of the form are graceful while they are not flamboyant. Throwing a new light on Sugeon-chum reveals the new significances of the form. First, re-discovering of Sugeon-chum can revise the taxonomy of Korean dance. Second, the movements including the performer`s lifting the fabric with her mouth can be newly interpreted as purification. Third, the use of the fabric which can be used as a towel in daily life suggests that the essence of this traditional form should be approached in terms of ordinariness, or daily life rather than “the artistic” or “the academic.” Fourth, Sugeon-chum can be considered as a combination of folk dance, court dance, and kyobang-chum. This article only focused on the Sugeon-chum in Daegu region. Therefore, follow-up studies about Sugeon-chum in other regions are still required.

한국춤의 미에 관한 연구

오레지나 ( Oh Regina ) 한국무용교육학회 2007 韓國舞踊敎育學會誌 Vol.18 No.2

에코댄스의 구성 원리 연구

오레지나 ( Oh Regina ) 한국무용교육학회 2012 韓國舞踊敎育學會誌 Vol.23 No.2

The ecodance is an artistic activity that intends to overcome the crisis of eco-system, pursuing reverence for life, harmony between nature and humanity. The ecodance program is not a mere repetition of certain movements but a reflection of true community and harmony with nature gained in natural flow of human movements. The program of the ecodance consists of “the eco-philosophy,” “creative expression,” and “practice” based on the structure (ecothinking, ecobody, and ecomovement). It also includes “the spirit of Salim,” “healing,” “sinmyeong,” and “play.” Our present culture, over-emphasizing rational and analytic way of thinking and artificially transforming nature, has lost harmony with nature and caused the anti-eco attitude. The way to overcome this mechanical approach to the universe is the ecodance, the form of art to practice eco-friendly view.

노인을 위한 스토리텔링 기반 예술통합교육의 인문학적 탐색

오레지나 ( Oh Regina ),임선애 ( Lim Seon-ae ),장내심 ( Chang Nae-sim ),길영순 ( Kil Young-soon ),이준식 ( Lee Jun-sik ),이윤경 ( Lee Yoon-kyung ) 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.4

This article examines the values of the humanistic approach to the Arts Integration program for the elderly based on Storytelling. In this age that acknowledges the life span of 100 years, ‘becoming elderly successfully’ and ‘being elderly creatively’ are key words for addressing many problems of the quality of life. ‘Becoming elderly successfully’ can be realized through physical, cognitive and emotional health as well as active social involvement. ‘Being elderly creatively’ can be achieved through practicing self-initiative and self-organization. The characteristics of the Arts Integration based Storytelling are ‘keeping existing’ and ‘peculiarity’ that make an individual more confident. At the same time, ‘meaningfulness’ and ‘communicativeness’ that can make one reorganize his or her life are important qualities in the Arts Integration based on Storytelling. The Arts Integration program for the elderly based on Storytelling pursues the artistic lives in which various artistic experiences meet lives with personal stories. In this process, the artistic experiences lead lives to changes and make individuals more able to redesign their lives. Such design of the lives for the elderly has significances as follows. First, it makes one’s existence being present through the narrative of life. Second, it makes one achieve life with self-initiative. Third, it makes one find his or her own ways to express peculiarity. Fourth, it realizes creative aging in which life and arts are combined. The Arts Integration program for the elderly based on Storytelling can offer a new solution for the physical, psychological, sociological problems of the elderly. With its new point of view and various artistic experiences for the problems of the elderly, the Arts Integration program for the elderly based on Storytelling can make the elderly reborn as existences with newly developed aesthetic sensibility.

한국 무용교육의 변화

오레지나 ( Oh Regina ) 한국무용교육학회 2021 韓國舞踊敎育學會誌 Vol.32 No.2

The remarkable changes in Dance Education in Korea show a progress shifting from “Dance Education as Technique-training” to “Dance Education as Social Welfare.” “Dance Education as Technique-training” was mainly pursued during the heydays of the dance departments on which higher education tried to provide dance education to train experts in the three big areas of Korean Dance, Classic Ballet, and Modern Dance. During these days, “Arts for Arts’ Sake” was emphasized in dance education. Arts education based on “Arts for Arts’ Sake” came to be criticized as it was no more than teaching technique itself. Therefore, school education began to find new contents or programs for dance education. This new phase of dance education can be called “pursuing new contents” stage. Korea Arts and Culture Education Serive (Arte) opened a new horizon for Arts Education in Korea as it provided studies and training programs for “arts instructor (yesul kangsa)” in dace field. These changes have brought about a new stage for dance education that can be called “Dance Education of Life (Life-centered Dance Education).” On this stage, various efforts to improve the quality of life through dance education and the social activities that new kind of dance education makes. These kind of result has been produced by the “arts instructor (yesul kangsa) support program” by Arte and its aftermaths. On this new stage of dance education, various new practices of dance has been apprearing as a form of social welfare. The changes in dance education examined in this article are the characteristics of the history of the Dance Education in Korea. Dance Education in Korea is progressing toward a sustainable humanistic education based on body(ness) in social life. To make this changes sustainable, systematic dance education pursuing movements understanding (functional and expressive) bodiness should be planned. Also, cultural welfare should be promoted on the level of locality.

신명체험을 위한 한국무용교육프로그램 개발

오레지나 ( Oh Regina ) 한국무용교육학회 2010 韓國舞踊敎育學會誌 Vol.21 No.2

Korean dance is the dance of sinmyong. The sinmyong is the artistic emotional experience that includes not only the changes of the form of Korean dance but also the inner changes in an individual. Also, it can be considered what forms the base of the common aesthetic sense of Korean people. Therefore, sinmyong occupies an important position in Korean dance education. The educational program for experiencing sinmyong as the energy for creative life has examined the meaning of sinmyong and applied the results to practice of Korean dance. Consequently, the program has invented the stages of "awakening" · "unraveling" · "enlivening" · "establishing" · "sharing" and adopted the four elements: Yinyang and Five Elements Dance, Salpurichum, Poongmulnori, and Muaemu. The educational program for experiencing sinmyong objectifies sinmyong, which formerly was dealt only on private/subjective level, on public/educational level. Also, this program will promote creative inheritance of tradition, and individual`s creativeness and self-confidence. In addition, the program can shift the focus of dance education from personal movement to meaning, inner exploration of self, and community.

ICT활용 초등 한국무용 교육프로그램 개발

오레지나 ( Regina Oh ),설자영 ( Ja Young Sul ) 한국무용교육학회 2004 韓國舞踊敎育學會誌 Vol.15 No.2

무용교육의 사회적 맥락과 복지적 기능

오레지나 ( Oh Regina ) 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.3

To live, to sustain one’s life signifies the pursuit of life-ness and the good quality of life. Dance education is an artistic approach toward creating and appreciating life-ness and the high quality of life based on the body and the movement. Cultural Welfare, as a policy, is an effort to grant and ensure people to expand the opportunities to access and appreciate Culture. Attaining the right of Culture is necessarily based on the people’s will and desire, and the will and desire spring from the artistic practice through the body and the movement. Dance education should be understood as the self-identifying process of one’s own recognition of self through the body and movement in the relationship with others. At the same time, dance education is the contemporary effort to address, by engaging with artistic activities, the social issues such as the inequality of sexes, highly aging society, low birth-rate, conflict among the classes, and economic inequality. Dance education is the education of self-organization in which the quality of life is enhanced by people’s will and own desire. Moreover, it is a practice to promote the attitude and ability to create and appreciate meaningful life in satisfaction and happiness. Dance education is not only the process of educating about body and movement but also self-realization in social engagement in which one organically unifies self and the others. Therefore, dance education should be positioned as the education that realizes cultural welfare through creating and appreciating culture.