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Facing the age of sociality(socialite) in which people resist what is social, dance education is suggesting dance education projects as an alternative for the existing educational system. Within this context, this study has examined the functions and roles of experience in order to understand the characteristics of dance education projects. Dance education premises a practiced and shared direct experience(lived experience). Therefore, the findings of this study can be presented as follows. Contemporary dance education is a system of self-expression that allows students to describe (construct) their lives. It exists as an educational project and forms the space of liberation and struggles for ‘becoming’, that is a process of understanding the history that the being of ‘self’ has been formed and establishing oneself. Therefore, a dance education project is about the participation of paying attention to an individual and unique being and the extension of relationship and revealing in public area to take steps to be oneself. Through a (symbolic) experience to become something, a dance education project vitalizes one’s sense of double-sidedness, that is balance and rearrangement captured in the structure of similarity and difference, and conflict and solidarity. Moreover, with voluntary and courageous expression as well as self-conviction, one gets to realize and reorganize the social system and one’s own life. At this time, expression is awareness, and self-conviction is experience in the position of ‘I (self)’, that is one’s sense. A dance education project is the eye (discernment) and involvement in the relations of the world to perceive things that one has not been able to observe before, never separate ‘I (self)’ from other objects, generate (provide) new meaning for them, or recognize phenomena and the problematic situations (essence) of facts. To realize this, it is necessary to have dance experience to think about how it would work instead of defining (explaining) and demanded to have (special) inner intimacy as metaphor and symbol. This is possible when the sense one has is undamaged dance experience itself; therefore, recognition on relations rather than the expression of (sophisticated forms and contents) forms the element of experience.
The welfare designed to promote public interests for happy life has taken its root in our life as a social welfare service structure and a (culture & arts) dance education program is provided during the process. The ultimate meaning implied in social welfare is an action plan to resolve the social factors of inequality and to present an alternative solution to promote happiness of individuals or wellbeing and satisfaction. Against this backdrop, this study aims to explore the community dance as a device for social welfare to examine the role and function of dance welfare from a social welfare perspective and the research findings are as follows. The community dance proposed as a public consideration is implemented in social welfare service structure and begins with the involvement of self-determination of a participant as a way of putting dance welfare into practice. Self-expression in community dance plays a role of self-education for the purpose of self-actualization driven by self-determination. Therefore, dance welfare engages in retrospection of happy life through the attitude of self determination that determines social responsibility and judgment by acknowledging and expressing self through the inherent internal structure of dance. The community dance that respects the dignity and potential of participants establishes the culture of respect and consideration in the service system of social welfare and plays a key role in raising awareness of public interests. Social engagement as a necessity of social welfare and a method of practice is the service structure of community dance activated and driven by participation and cooperation of community.
In this age of cultural diversity when the previous era’s values are inverted, dance education projects are being positioned as public goods with no exclusion or competition. Not though equality but through the interest and participation of equity, dance is being consumed and employed, and the will to participate is described as accessibility to dance as public goods. From the condition that the social functions of dance education projects lie in communal experience in which communality is expressed, this study has explored accessibility to dance education projects and discussed the characteristics of participation experience. The contents of this study are as follows: Accessibility to dance education projects as social involvement which means one is not excluded from any experience begins with this belief and attitude that each other’s existence forms power within the experience to be together in the environment and condition that are flexible and metaphoric. Therefore, the condition of dance education projects lies in ‘being together’. Various types of ‘being together’ are to participate in the experience that has not been considered as notions surrounding our lives, for instance, exclusion, alienation, deficiency, or narrow-mindedness. Sharing the experience of dance education projects is the opportunity (indirect experience) that the ideas of self-expression metaphorized with the recalling of individual memories feel and recognize another life, beliefs and values, and historic memories while sharing the times of mine and others’ and forms the environment to empathize with the relationship to sense self-dignity and respect for others. Therefore, feeling that we are different from each other itself is the contents (structure) of sharing the experience of dance education projects. Sharing experiences in dance education projects is empathic consideration, and in the contemporary environment where introspection to ask ourselves about our lifetime goals is assumed, meditation on and empathy with individual beings as self-responses to think (feel) with the body are positioned as social functions (involvement and participation) that work as an internal structure.
The study has paid attention to paradigm shift in arts and cultural education that was suggested as a way to overcome issues associated with particular values in modernism and at the same time, the study attempted to identify changes in arts and cultural education in an effort to expand the scope to include community of practice by exploring what community and communality actually stands for. It also explored that community dance, as a measure to act on arts and cultural education based on participation and practice, is closely tied to destinations of community and dance as they share a lot in common including interaction with each other and pursuit of non-competitive teaching. Community dance, as a strategic tool to practice arts and cultural education needs to stay open to all member of society and needs to contribute more to accommodating the social approaches to reach out for those socially and politically isolated. With the understanding, the study has outlined strategies as follows to perform educational practices while keeping the framework of arts as it is with an aim to restore public function of arts and contribute to community living. ·It should go further to expand the scope of communities that dance education has been targeting in traditional arts and cultural education to encounter and go into diversified communities in various nature. ·It should establish robust network before implementing community dance program and this requires deep understanding on partnerships. ·A partnership is a way to build and practice networking and it takes resources to build a partnership. So it is essential to conduct a pre-research on resources required to practice community dance. ·Building systematic network among participants of community dance with various backgrounds needs to be led and facilitated by Dance Animateur. ·Dance Animateur, the practitioner of community dance should take lead in creating, organizing and connecting. ·Program design starts from paying attention to common interest, value and issues of community but it should take time to consider and decide whether to accept the demand of community unconditionally. ·Program should persue shared objectives that are planned and organized based on debates from the community and should introduce dance in various formats and nature as it should be coordinated with needs and nature of participants. ·Dance in the form of arts to be the contents of community dance should sustain sense, symbolization and communication and participants can experience and practice genuine arts only when these principles are secured.
삶의 윤리적 과제가 짙어지고 있는 동시대에 문화예술교육과 무용이 추구하는 교육적 특질은 삶의 성찰을 위한 경험이다. 삶을 위한 예술로서 미적 경험이 일상의 영역에서 중요한 위치를 차지한 것이다. 무용교육은 문화예술교육 정책 등장과 맞물려 일반인들을 위한 교육으로 확산되었고 다양한 교육적·예술적 실험과 도전이 진행되고 있다. 그렇기에 오늘날 문화예술교육과 무용의 지향점이 어떤 관계 속에서 구성되고 있는지 그리고 문화예술교육 정책영역에서 무용교육은 어떤 모습으로 묘사될 수 있는지를 살펴볼 필요가 있다. 의제로서 공동체에 필요한 내용으로 제시되는 정책은 사회적 기능이 강화될 수밖에 없는 특성이 있다. 그리고 때로는 정책에서 추구하는 필요에 의해 교육내용으로 담겨지는 무용의 역할이 규정되기도 한다. 필요와 실행의 방식에 따라 각기 다른 방향으로 엮이며 무용은 단위사업 목표를 이끌 수 있는 역할로 제시되기도 하는 것이다. 문화예술교육 정책이 점차 더 다양한 대상으로, 전 생애를 주기로, 일상(생활문화)으로 방향성이 확장되고 있는 현재, 무용은 특정한 무용 형태와 형식으로, 개인의 자기표현을 위한 방법으로, 혹은 사회적 문제 해결과 예방을 위한 전략으로 실천되고 있다. 이와 같은 관계에서 무용의 가능성, 즉 문화예술교육 내에서의 범위와 역할을 살펴봄으로써 무용교육의 기능을 탐색하고자 한 본 연구는 개념적 접근을 시작으로 정책 현장에서 진행되고 있는 무용교육의 내용과 방법의 범위를 사업단위를 기준으로 탐색함으로써 오늘날 문화예술교육에서의 무용교육의 지형을 살펴보는데 의의가 있다. The educational trait that the arts and cultural education and dance strive for at a time when the ethical tasks of life is the experience for insight of life. The awareness of time entrusted with the intensity [depth] of artistic and aesthetic experience is to contain its implication with policy and system. In the policy territory, broad perception and strategy are combined and practiced to produce new implication. Therefore, on the basis of characteristics and spectrum persuaded at a time when the arts and cultural education and dance education are broadly expanded, the result of this study after taking a look at the role of dance education within the arts and cultural education is shown as follows. The value striving for by the culture and arts education and dance education is to structure the life form with the artistic experience through the art as the ultimate life description. This is attributable to the fact that the artistic trait structured with self-understanding and self-expression contains the directivity of life that is recorded and depicted in the process of life. The dance education in the culture and arts education has the trait to view the world with the dance structure as the comprehensive study as in other textbook or art genre under the awareness of time and education system category within the school system and it has diverse social issues combined as related to the frame of social growth and advancement outside of school. When taking a look at the practical characteristics (method) of dance based on the arts and cultural education business, it facilitates the practice strategy through dance, in dance, about dance, between dance with the artist for art [dance]. At this time, the approachability of dance is deployed in a program based on diverse artistry for technology, expression, understanding, symbolism and others and it has the participation of enjoyment and preference. In the policy project of the culture and arts education, the dance education works as the function of education project as an alternative model on the education system and it also sometimes works as the function for social improvement and development to promote the community awareness and cultural transformation through the involvement and intervention of social issues.
The purpose of this study is to explore the meaning and the range of the body that is changing in the world of knowledge and decode the knowledge system of dance experience. As examining the system means figuring out how knowledge is organized and works, this researcher sees that exploring the meaning of experience is the way of decoding the knowledge system. Since dance is still holding the key position as an area of basic arts education having the body as the medium in the world of education and knowledge changing, the expressive body should be the ground of knowledge and accessibility to participation (dance experience) to form knowledge should be secured in contemporary dance education. In this context, this researcher suggests the results of this study that has examined the characteristics of dance experience as follows. In contemporary dance education, expression creates meaning within dance experience captured by one’s senses which is beyond the image of movement and pursues the body to express things as the representations of mental activities. The experience structure of the agent who experiences, feels, and reasons through mental power is dance experience, and dance experience is involved in the form of life as an agent who recognizes her own intention, not what is intended. At this time, questions arising from dance experience work as the principle of knowledge consisting of the form of life through the frame of thinking, the so-called rearrangement of experience and meaning. Dance education as consideration and caregiving for the formation of generative meaning develops by the practice of the body to express thoughts which one’s mind and spirit intend to express. Therefore, in the world of knowledge, dance pursues what one wants to know rather than what should be known, and the world of knowledge is experienced through voluntary participation (dance experience). Accordingly, dance experience does not represent the result of alteration or improvement but exists as the knowledge system by one’s senses and expression (reasoning) embracing the possibility of changing and being different.
This study focuses on the value of modernity resulted from capitalism and liberalism and the problems of a city and society as residential space created by the blindness of contemporariness. The movement of internalization and globalization based on the power of vast capital has deterritorialized human life space, and it has facilitated the growth of an enormous city as either extended or eliminated with the common elements of a city as the ground. While the taste and consciousness of a community, the existential being occupying the city and town, is disregarded, the myth of the town has been diluted. In the space of a city ruled by individual desire, residents` historicity and a community`s identity are no longer crucial value. This therefore means discontinuance in relations. The problem of discontinuance in cultural relationship can be settled down when we practice culture sharing as the succession of relations through the process to revitalize the myth of a town. The succession of relations is to share a town`s historicity, and culture sharing is the very effort to revitalize community. Thus, community dance for residential culture sharing comes to have functions to reflect the historicity of various time points based on the placeness of a city and town from the temporal perspective and also to revive community through culture sharing as the practice of participating in artistic experience from the spatial perspective. In others words, it comes to play roles in revitalizing residents` consciousness and happiness eaten up by modernity and contemporariness represented with capitalism and liberalism. It is because a city community`s recovery means reviving the existential aspects of a community well polished with value and belief that have been formed spatially as well as temporally.
The purpose of this study is to suggest the relationships between ecological consciousness and community dance regarding social participation with its topic about the meaning of community dance in terms of social participation. The procedure of this study is to explore the ethical perspective of ecological consciousness and then suggest the intention and mode of participating community dance in the social environment urbanized after the industrialization. From the aspects of the social system, the characteristics of ecology such as codependence and interaction demand the ethical attitudes of consideration and embracement having interaction and mutual communication as prerequisites. The space where interaction and mutual communication are acknowledged can alter the aspects of a city into those of social space. It is because the urbanization process still retains the problems of space where ideology that industrial society has formed as a physical condition exist. Seen from this perspective, the social participation of community dance aims to pursue the public good through the practice of art to share the matters of time and space in social·cultural context. The ethical attitude of the public good gets to be formed through the social participation of community dance, that is, consideration and embracement, and it is to recognize the problems of an alienated community as our problems and solve them. The mode of social participation in community dance starts from facing the problems of an alienated community directly through the union of participants and the DA. At this time, the roles of dance are to connect the social relevance of dance experience, and the forms of dance suggest the techniques to express the matter of relevance in diverse ways. In other words, social relevance at the practice of dance in a community is to concretize the goals of planning community dance determined as a mode of social participation. Accordingly, the dance experience of social participation works as a function to reach the ethical value of consideration and embracement, and acceptance and extension; thus, it becomes the practice of arts in ecological society that forms society that is symmetric.
Contemporary dance is recognized as a space of sharing in which numerous people directly participate as a form of human understanding. Contemporary dance, described using bidirectional relationships, is created and distributed by knowledge structures in which experiences and knowledge are connected. In this context, the contents of this study, which attempted to explain the accessibility of the public good of dance through knowledge education, can be presented as follows. The role of contemporary dance, in which communication takes place through the body as a subject of awareness, has become an investment of life that directly participates in dance with a change of consciousness (an expansion of the mind) and it functions as a public good that communicates with participants through a dance knowledge structure. Dance knowledge structures that are connected among and related to participants possess structures that systematically expand knowledge through themselves. Spaces that participate in dance are relational spaces in which connected relationships between people and dance and between people and people are established and knowledge is created through participant activities (experiences). Dance knowledge education is a form of imagination that approaches knowledge systems formed within history and culture based on background knowledge (sensory data) without depending on any particular knowledge and it recognizes universal lives common to mankind along with individually unique lives and contributes to awakening self-management abilities within them. Integrated artistic dance and dance literacy in contemporary dance knowledge education discovers the creation origins of knowledge from the human spirit of culture and history as public goods and knowledge is created through imagination learning that forms relationships with other things. Dance literacy, which reasons and infers from what has been, makes reading the world possible withing diverse relationships and integrated artistic dance, which broadens the ranges of pluralistic thinking through various sensory data (forms), amplifies the possibilities of self-expression. This signifies that they can possibly serve as containers in which dance knowledge structures are shared as dance knowledge education strategies.
In this age, community dance is being vitalized in many different ways. This study started from a question of which position the experience of community dance functioning as an engagement system should take. Centering around ethical value and accessibility participants have pursued in community art, this researcher explored the functions and roles of community dance as an engagement system. The results are as shown below: Community dance as an engagement system provides opportunities (conversa-tions) for them to concretize their own experience. It provides them with special experience that allows them to figure out the problem they are facing objectively and then solve it. The experience of community dance as an engagement system allowing them to describe their own lives and their lives in the community intensively provides them with the contents of experience that are so-called self-expression skills to describe their own lives. The experience of community dance builds up an engagement system taking the whole of relations that can always be connected into consideration. With a variety of value networks of the world or the people that are not like them, they share the consciousness of what they have to be or what they would be with through ethical imagination and make sure of confidence, trust, and solidarity. The ethical imagination of community dance to meditate on reality in their lives within social relations and form new possibility of relationship (new value) is practiced through courage and voluntariness to form their own identity.