무용전공별 성역할 정체감과 신체상의 차이 비교

이예순(Ye Soon Lee),김종진(Jong Jin Kim) 한국여성체육학회 2001 한국여성체육학회지 Vol.15 No.1

Dance is a creative way of expressing the basic human desire, emotions and thoughts through body moverents. There are 3 kinds of dancing; classical Korean dance, modern dance and ballet. Nowadays, it`s been quite common to see dancing arts being studied in cooperation with other majors. On the basis of these previous studies, in this paper, I`d like to find out the differences in gender role identity and body according to one`s majoring dance for more efficient works and better understanding of dancing. The subjects of this study were randomly chosen among the female dancers who are presently(in 2001) in their third year of the 16 four-year colleges in Seoul and Kyonggi province where they have dance majors. I used KSRI : Korea Sex Role Inventory by Kim, Young Hee(1969) for the gender role identity and Body Cathexis Scale by Jourard & Secord (1954) for the physical condition. I used DESCRIPTIVE, GLM, the sub-program of SPSS V. 10. 0 for windows to analyze the collected data. The followings are the conclusion of my study. 1. There is a difference in gender role identity and body according to one`s majoring dance. 2. There is a difference in gender role identity and body according to one`s dance career. 3. There is a difference in gender role identity and body according to the frequency in dance excercising. 4. There is a difference in gender role identity and body according to the intensity of dance excercising. I expect this paper to be useful in dance education and cooperation with other majors by understanding and accepting the differences in gender role identity and body according to the majoring dance.

구조주의 철학과 한국 창작춤의 흐름

이예순 ( Ye Soon Lee ),백현순 ( Hyun Soon Baek ) 대한무용학회 2006 대한무용학회논문집 Vol.49 No.-

This thesis is intended to consider links between structuralism and the recent trends of Korean dance, the theoretical grounds of which are the concepts of Pierre Bourdieu`s habitus and Jacques Derrida`s deconstruction. The methodology employed is to infer, through theoretical analysis, the ways in which the paradigm of Korean creative dance could be elucidated from a perspective of structuralist philosophy; to explore various trends of contemporary dance studies and performance in the light of these cutting-edge ideas; and ultimately to present some suggestions on a new vision for dance theory and practice. To date, Korean dance has been defined, first and foremost, by a continuous quest for a new path of `modernity` and from new dance to today`s creative dance, its evolution has predominantly centered on exclusive coterie groups, whose membership consist of professors and students of university dance departments. For one thing, new dance has maintained a style of its own by constructing habitus of social and academic networks. This questionable phenomenon is equally visible in the fields of modern and traditional dances, which are also intent on the practice of distinction through college or department networks. The practice of distinction, which was in vogue in dance departments until late 1980s, came in decline with the advent of post-modern symptoms in early 1990s. Yet, it is to be noted that the identity of Korean dance is still caught in complex conflicts between pre-modernity, modernity and post-modernity. Korean dance thus seems to remain in stagnation mostly due to its inclination towards elitism and dogmatism. In this context, the key concepts of structuralism deserve particular notice in that they suggest potentially constructive perspectives. In sum, they point to progressive and liberating direction for the development of Korean dance by putting forward the perceptions and strategies of de-centralization and critical re-conceptualization.

조선조 서민춤의 풍류학적 해석

이예순 ( Ye Soon Lee ),강미선 ( Mi Sun Kang ),제임스전 ( James Jeon ),김지연 ( Ji Yeon Kim ) 한국체육사학회 2006 체육사학회지 Vol.18 No.-

현대무용 연기력 평가문항의 적합도

이예순(Ye Soon Lee) 한국체육측정평가학회 2004 한국체육측정평가학회지 Vol.6 No.2

메를로 퐁띠의 예술과 춤 공연의 현상학적 접근

백현순 ( Hyun Soon Back ),이예순 ( Ye Soon Lee ) 대한무용학회 2008 대한무용학회논문집 Vol.57 No.-

긍정심리학 관점에서 본 무용수의 심리체험 개념구조

권오정 ( Oh Jung Kwon ),윤영길 ( Young Kil Yun ),이예순 ( Ye Soon Lee ) 한국스포츠심리학회 2010 한국스포츠심리학회지 Vol.21 No.2

본 연구는 무용수의 심리적 체험을 긍정심리학 관점에서 탐색하고, 이를 바탕으로 무용에서의 긍정적 심리체험을 구조화할 목적으로 진행하였다. 무용전공대학생 110명을 대상으로 개방형설문을 실시해 무용 수행시의 심리체험을 수집하였으며 수집한 자료에 대한 귀납적범주화와, 귀납적범주화 결과의 구조타당도 검증 순으로 진행하였다. 연구결과 개방형 설문에서는 387사례의 원자료가 수집, 36항의 세부요인으로 범주화하였으며 36항의 세부요인은 자기표현, 성취감, 일체감, 유능감, 자기발견, 활력감, 몰입 등 7개의 일반요인으로 범주화 하였다. 세부영역을 기준으로 63항의 예비조사 문항을 개발하여 문항의 삭제와 요인 구조의 확인, 신뢰도 분석을 반복적으로 실시한 결과, 활력(vitality), 유능(competence), 성취(accomplishment), 표현(expression)의 4요인, 16항으로 무용수의 긍정 심리체험은 구조화되었다. 탐색적요인분석 결과를 토대로 한 확인적요인분석결과, 대부분의 판단지표가 채택 가능한 범위에 있어 이 개념구조 모형은 수용 가능한 것으로 나타났다. 향후 스포츠심리학과 무용학 연구에서 긍정심리학 관점을 반영한 다양한 접근이 이루어지기를 기대해본다. This study intended to search for psychological factor experienced by dancers through dancing, from the aspect of positive psychology, and based upon it, to prove feasibility of the concept structure of positive psychology factor of dance. Thus, this study first collected factors of positive psychology experienced by dancing, through an open-ended questionnaire, intended for 110 undergraduates majoring in dance, who are attending universities located Seoul and Gyeonggi province, and then performed a professional conference and inductive analysis. As the result of it, 37 items of detailed area and 8 items of general area were deduced, based upon them, this study made 63 items of pre-survey questionnaire and executed a series of pre-survey for correcting and deleting questions, intended for 90 dancers. Questionnaire with 43 questions finally confirmed by statistical verification was posed for 257 dancers, in order to analyze exploratory factor. As the result of exploratory factor analysis, totally 4 factor s of ability, competence, achievement, and expression, 16 questions were deduced. In order to verify suitability of the structure of these factors, the final questionnaire containing 16 questions was posed for 479 dancers, and then confirmatory factor analysis was performed. As the result of it, the most part of suitability index for four-factor structure (Q=4.044, RMSEA=.080, CFI=.937, TLI=.923)finely corresponded to the acceptable range of model. Consequently, a concept structure of dancer`s positive psychology, proved by this study, demonstrated four-factor structure of ability, competence, achievement, and expression.

1980년대 한국 춤의 양상과 한계 : 민족 민중 춤과 포스트모더니즘 댄스를 중심으로 Focusing on the National and People's Dance and Postmodern Dance

이예순,강미선 韓國體育大學校 1995 論文集 Vol.18 No.-

It is hard to make a simple definition on Korean dance during 1980's. It can be divided in two groups, however. One is the National and People's Dance which recognizes dancing as a part of political, social and historical life, and raises a protest with collective message against rigid regime demonstrating ideology. The other is so-called Postmodern Dance, a liberal on which started before during 1980's and has argued a non-formal form escaping from existing cognition. This took a role to dismentle the established freame of dancing like Korean folk festival and encouraged an open attitude for dance itself. In the dancing environment during 1980's, it is also difficult to separate and approach to the two sorts of dance, which have a probability to be related each other. One of the reasons is that the structure of our politic, economy and culture exists in a great and confused mass, and that there are many complex streams in Korea and most of them are not arranged or remain not to decide their direction to unify. In short, our dancing culture is in a condition not to be mature for the structure between National and People's and Postmodern Dances. The activities of National and People's Dance during 1980's were by several groups, but they neither made a great result in dieology of creativeness nor had relationship or supplement with the existed dancing groups or Postmodern Dance. On the contrary, though the creative dances of Postmodern Dance showed a completedness. It is also true that Korean dance 1980's was afflicted with various problems such as harmonious endevour or development to re-creation on the threshold between tradition and modernity. It is necessary, therefore, to study and effort hard for the dance's participation in reality that is of delemas for contemporary man, or for making dance a common life, and these are the tasks for future Korean dance.

한성준의 한국 전통춤 사장 : 승무를 중심으로

백현순;이예순;강미선;김현남;이현진 한국무용연구회 2007 한국무용연구 Vol.25 No.1

This paper aims to investigate the origin and movement of Buddhist dance, recognized as the most artistic one of Han sung Jun’s dances and from this draw the idea on Korean traditional dance. First, to summarize the idea on Buddhist dance, on the basis of his biography and historical background of his times, it is believed that the East would look upon the sky as the president of the universe and the origin of life as God; carry out the religious rituals as to natural phenomenon along with human beings. The spiritual thought during the ceremonies is certain to immanent in current Buddhist dance. Buddhist dance is also called “Bǔm-pae”, which means it has a close relationship with Buddhism. And his dance seems to be associated with Buddhism in a degree. The fact, however, that his dance ultimately has not any meaning in it, demonstrates Buddhist dance has the idea of emptiness, that is, “to stay at the quiet state without any mental affliction.” Second, the analysis of his dance shows that the principal motion of Buddhist dance is being represented as Pil-che, Hak-che and Goong-che. In other words, the stirring movement reveals that his dance certainly has a set pattern of points(Pil-che), lines(Hak-che) and circles(Goong-che); It is equivalent to the shape and spirit of the Endless(Mu-kǔk) and the Great Absolute(Tae-kǔk) in the eastern philosophy. Both of them are to result in ǔm-Yang and in this way, the idea of Takǔkǔmyang is obviously indwelling in Buddhist dance. 본 논문은 한국 전통춤의 맥을 이어 온 한성준의 승무를 대상으로 그 춤의 연원(淵源)과 춤사위의 구조(構造)룰 밝혀 춤의 실체인 한국 전통춤을 철학해 보고자 한 것으로 연구 결과는 다음과 같다. 첫째. 한성준 춤의 일대기를 바탕으로 그 시대적 배경에 따른 승우 춤 사상을 정리해 보면 동앙에서는 천(天)·신(神)에게 제사지내는 제천의식을 행해 왔는데 이때 행해지는 천신사상이 오늘날 승무 춤 속에 내재되어 있으며 또한 승무는 불교의식인 범패에서 기원 되어 성행된 것으로 볼 때 승무가 불교사상인 공사상(空思想) 깊은 연관이 있음을 알 수 있다. 둘째, 한성준 승무의 춤사위를 분석해 보면 승무 춤의 대표적인 춤사위가 필체(筆體), 학체(鶴體), 궁체(弓體)로 나타남을 알 수 있으며 이는 동양철학에 있어서 무극(無極)과 태극(太極)구조의 형상과 맥을 같이함을 알 수 있다. 무극과 태국은 곧 음양으로 귀결되며 따라서 승무 춤사위에는 태극음양사상(太極陰陽思想)이 내재되어 있음을 알 수 있다. 한국 전통춤은 익히 알다시피 악(惡), 가(歌), 무(舞)가 함께 어울려 시대의 흐름에 따라 한국인의 정서와 사고를 복합적으로 배태(胚胎)한 것이므로 한국 전통춤을 단순히 하나의 사상만으로 채울 수 없으므로 이상과 같은 결론은 한성준의 승무 춤에 내재되어 있는 한국춤 정신의 극히 일부분일 수 밖에 없다. 그럼에도 불구하고 승무 춤 속에 녹아있는 본질적 사상을 유추해 보고자 한 것은, 한국 전통춤의 대표적언 춤인 승무를 통해, 한국인의 정신인 춤 사상에 함축되어 있는 민족성을 도출해 낼 수 있는 바탕의 자료를 제시코자 한 것이다.