한국무용에서의 미학적 논의

오율자 ( Yul Ja Oh ) 대한무용학회 2005 대한무용학회논문집 Vol.42 No.-

여성주의적 관점으로 본 무용 예술에 관한 연구

오율자(Oh, Yul Ja),서리라(Suh, Li ra) 한국체육철학회 1998 움직임의철학 : 한국체육철학회지 Vol.6 No.2

When we address feminism as a liberation of human being through an exploration of women`s identities, the 「Art of Dances」 plays a vital role in expressing the soul through choreograghy and improvisation, using the human body as its means of expression, thus making dance better than any other form of art for achieving the socialization of women. This paper reviews the evolution of western modern dance and the history of Korean women s dance from the late 19^(th) century to the early 20^(th) century from a feministic point of view, i.e., how the feministic trend of the dancers develop its expression and directions in dach different social structure, how the concept of dance has changed through time in the Korean society, which is very patriarchial and chauvinistic, and how the absolute domain ratio of female dancers in the dance population contributes to the socialization of Korean women. Whin dance is considered as a way of expressing the inner world by a series of body movements, the visionary image of dance itself constructs a contraction image of men and women, and in other related subjects and/or themes, this image is again reflected onto dance pieces on stage. The position of women in dance is greatly influenced by a series of complex historical and cultural factors. Considering the dance drill exercises, its policy, its organization and supporting policy, and an evaluation of how its works, the effect of political power and male-oriented social structure, coupled with a power-oriented economic system and ideological concepts, greatly influences the weaker role of women versus that of men. Women, directly or indirectly influenced by feminism, endeavour to pursue and achieve a renovative progression through their emotions and strong will. As a result, the increase in the female dance population in Korean society contributes to an independent female portrait. This signifies that dance is no longer an exhibition of body, but an expression of soul, a general language of art. Therefore, looking at the future role of women in the 21^(th) century, Korean dance as an art should develop its own innovative form in search of the value of women.

무용의 예술적 경험에 관한 연구

오율자(Oh, Yul Ja) 한국체육철학회 1996 움직임의철학 : 한국체육철학회지 Vol.4 No.1

John Dewey`s `Art as Experience` is that universal experience, which is gained from daily experience, is the expression of the organized spiritual world of experience which is attached to artistic experience by aesthetic attitude. That is, daily experience is regarded as an object of art and the conversion into art of dance through the body is looked upon as a domain of true experience. The aim of the art of dance is to grasp how daily experience is immanent in the art of dance. Accordingly, the result of this paper on the artistic experience in dance as follows. 1. Dance is the expression of the spiritual world beyond the body and the art of dance can`t be in proportion to the size of the spiritual world, for it is confined to only the human movement. 2. Dance is not only simple movement and experience, but is completeness through the integration of movement which occurs when dispersed objects are united and organized, and their meanings are concretely understood and linked together. 3. Dance is not satisfied with an object. It is not the description but the process of dance that matters in taking an artistic view of all the objects. 4. Dance is removed from the training of technics, which enjoins tolerance and the experience of the perception and cognition acquired through the direct relationship between artistic objects and things is very important. According to the above, by reducing art to real life in society and bringing artists` interest in the surroundings of our life, J. Dewey tries to connect directly art with experience. His view as such is to sublime social needs into education. Nowadays, our education has laid emphasis on the intellectual activities. In fact, though there is logics which treats with intelligence, it is not until the late in 18th century that aesthetics or artistics which deals with emotion is recognized as a learning. In the coming 21th century. we should not only think of intelligence and emotion but touch them as well. With such interests and efforts, we should revive the powers latent within abundant human emotion and develop the education of modern art.

인문 , 사회과학논문 : 서원 , 김문숙의 춤의 관점

오율자(Yul Ja Oh) 대한무용학회 2001 대한무용학회논문집 Vol.30 No.-

무용예술의 미적체험에 관한 연구

오율자(Yul Ja Oh) 한국체육철학회 1995 움직임의철학 : 한국체육철학회지 Vol.3 No.1

John Dewey told that the fundamental objective of the art-work`s creation and appreciation and appreciation is to seek aesthetic quality and the meaning of aesthetic objects, reconstruct them by oneself, generalize them, and consquently try to aesthetic value orintation through the activities of value research. In view of pursuing the aesthetic value in the aesthetic experience, the better understanding occupies important position, especially limitting the aesthetic value object to dance-art. In this respect the purpose of study is to help choreographers, dancers and audience to understand the structure and the essense of the aesthetic experience. In addition, I tried to find the thought-difference by comparing Korean dance with modern dance, ballet about aesthetic value through the questionnaire. The major contents of my study are as follows: First, tried to find What is the structure of aesthetic experience?. Second, tried to find How the aesthetic value is explained?`. Third, tried to find What is the essense of aesthetic experience?. The last, tried to find the specific results by comparing Korean dance with modern dance, ballet when having the aesthetic value. This study is expected to be helpful for choreographers, dancers and audience to appreciate the dance-art-work effectively through the better understanding of the aesthetic value and the aesthetic experience itself in dance-art.

춤에서의 신명체험에 관한 연구

오율자 ( Yul Ja Oh ) 대한무용학회 1995 대한무용학회논문집 Vol.18 No.-

Disciplinary Dance : 미적체험으로서의 신명현상에 관한 연구

오율자 ( Yul Ja Oh ) 한국체육학회 1996 국제스포츠과학 학술대회 Vol.1996 No.1

한국 창작무용음악의 효과적인 제작방법에 관한 연구

오율자(Oh, Yul-Ja),이정화(Lee, Jung-Wha) 한국체육철학회 1997 움직임의철학 : 한국체육철학회지 Vol.5 No.2

Dance is general art. Therefore, to produce a work, it needs to cowork with other, arts and dancers need to get expert knowledges about related fields as well as dance. Specially, in these fields, music which has closed relation with dance in the embryological theory has a great influence on the effective production of dance and choregraphic flow, so it is much more required to study about music. Recently, the works of creative dance have got to need more objective and concrete dance music as the operation of creative dance has been proceeding briskly. As the result, it is easilly shown that choreographers take dance music to musicains, which makes a new dance music type called Creative dance music. However, as creative dance music needs more coworking hours between choreographers and musicains other fields do, it causes lots of problems to be solved. So this study presents effective production methods of Korea creative dance music by grasping every problem and finding improvements in order to approach creative dance music production methods which can make an effect on elevation of the quality of Korea dance creation.

무용 ( 학 ) 과 졸업생들의 진로에 관한 연구

이숙재,서차영,오율자 ( Sook Jae Lee,Cha Young Suh,Yul Ja Oh ) 대한무용학회 1986 대한무용학회논문집 Vol.8 No.-

60세 이상 여성의 한국무용 참여 여부가 신체상에 미치는 효과

이미영 ( Mi Young Lee ),오율자 ( Yul Ja Oh ) 한국무용연구학회 2015 한국무용연구 Vol.33 No.2

이 연구의 목적은 한국무용참여 여부에 따라 60세 이상 여성의 신체상에 효과가 있는지 확인하는데 있다. 이러한 목적을 달성하기 위해 무선표집 방법으로 총 90명(한국무용참여 45명, 비참여 45명)의 60세 이상 여성(연령: 65±2세)을 대상으로 신체평가척도를 통해 자료를 수집하였다. 수집된 자료는 두 집단간 신체평가척도 하위 항목별 차이가 있는지 확인하기 위해 독립 t 검증을 하였으며, 모든 통계적 유의수준은 .05로 설정하였다. 연구결과 24가지 신체평가척도 하위 항목 중 어깨의 너비와 체격 항목에서 한국무용 참여 60세 이상 여성 집단이 비참여 60세 이상 여성 집단에 비해 통계적으로 유의하게 높은 것으로 나타났다. 전반적으로 한국무용 참여 60세 이상 여성 집단이 눈, 코, 입과 같은 얼굴 부위 보다는 신체의 큰 선을 나타내는 신체적 부위 항목에서 만족도가 높았던 것으로 확인되었다. The purpose of this study was to verify if the participating Korea traditional dance brought up body image change of woman over sixty years old. In order to accomplish this purpose, total 90 ( 45 participants, 45 non-participants) women over sixty years old(age: 65±2 year)were selected through body esteem scale. For the collected data the independent t-test was conducted in order to test the difference in sub-items of body esteem scale between two groups. The statistical significance of all was set to .05. The result showed that in the items such as the width between shoulders and physical size among the 24 sub-items of body esteem scale, the statistical significance value of group of the women over sixty years old who joined Korea traditional dance had been shown to be higher than the others. Overall the group of women over sixty years old joined Korea traditional dance was proved to show more satisfaction in items of large physical parts rather than small parts such as eye, nose and mouth in face.