남해안 별신굿 춤의 구조와 특징

엄옥자 ( Ok Ja Um ),민성희 ( Sung Hee Min ) 대한무용학회 2005 대한무용학회논문집 Vol.45 No.-

중국 나희춤의 제의성과 예술성 -귀주성 도진현 나희를 중심으로-

엄옥자 ( Ok Ja Um ),김성미 ( Sung Mi Kim ) 한국무용교육학회 2005 韓國舞踊敎育學會誌 Vol.16 No.2

Nuoxi, despite the fact that it greatly suffered from the Cultural Revolution, was still developing strongly and consistently in countryside. Being deeply religious in nature and faraway from any major modern influences, people`s faith in shamans and regional gods is strict and strong in countryside. Shamans are the most worshipped figures in these people`s mind. They sing songs, shout out spells, draw charms against evils, and pull people`s hands to heal diseases as well as to prevent vices of plagues. Nuoxi can be regarded as both a dance and a song, which suggests that a song and a dance are combined as one and the details and qualities of such harmonious combination are rich and excellent. The dance of Nuoxi can be differentiated to two parts, the dance performed during a ritual and the dance performed during a feast after the ritual. The former is the dance performed by the priest in the inner altar and appears extremely serious, orderly, and greatly religious. It is only performed inside the bamboo spot where the ritual is taking place. The latter is the dance performed outside the restrictions that should be obeyed during the ritual. It conveys no such formalities as the dance performed during the ritual and could well be rather exaggerated and free-hearted in its essences due to lots of movements and variations. Taking strong and powerful steps throughout the dance is the main characteristic of the Nuoyi dance performed during a ritual and such ritual movement anticipates unity in its nature. These steps are supposed to prevent plagues and the powerfulness portrayed during each step cleanses and destroys any demons inside people`s body. Dankangmu and SSangkangmu, due to strict restrictions on its performance, can only be seen as plain and sometimes uninteresting as any variations in movements are prohibited by strong and powerful steps. However, the unity immanent in formalities of the ritual indicates sanctity and mysteriousness within. After Nuoyi, Nuoxi makes its imminent start. The masks represent 24 gods or religious figures. During Nuoxi, it slowly begins to develop into a plot so that the dance would not have to be restricted by whereabouts of the performance. The dance of Nuoyi is only performed on a piece of mat in a very simple and united manner but this is not the case for Nuoxi. Therefore, Nuoxi is rather more capable of representing many differentgods and having more complex and various movements during the performance, which adds to aesthetic craftsmanship of the dance. In Nuoxi, under considerations of the title and the characters of the dance, movements and steps vary. As a result, such variations make the dance more differentiated, free-hearted and aesthetically pleasing to the dance performed during the ritual. The Nuoyi dance is very well adapted to a mysterious and religious ritual, which heightens sacredness of the performance. In the Nuoxi dance, the dance for various gods has numerous variations in its rather alien and changing movements. Well known regional tales are narrated by masked characters and every scene brings out interests from people. For these reasons, it is certain that the Nuoxi dance places great weight and importance to its various and aesthetic movements.

학부모의 유아발레 교육에 대한 인식도 분석

박해경 ( Hae Kyoung Park ),엄옥자 ( Ok Ja Um ) 대한무용학회 2008 대한무용학회논문집 Vol.54 No.-

The purpose of this study is to call the importance of the teaching skills and mindset of ballet instructors, the development of ballet teaching program as well as the necessity of continuous research regarding ballet education for infants through the analysis for the cognition of parents whose infants are engaging in the class of private ballet institutes. We chose six private ballet institutes for infants and conducted the survey subjected to 245 parents whose infants are engaging in the ballet classes. The results of this study are as follow: First, parental cognition on infant ballet education according to age showed significant differences in psychomotor, cognitive and affective factors. Specifically, parents under 35 have high cognition level in all the factors. Second, while parental cognition on the education according to education level didn`t show significant differences in the factors, parents with the educational attainments equal to and higher than those of postgraduate school graduate have much higher cognition level than high school graduates in affective factors. Third, parental cognition on the education according to frequencies of classes showed significant differences in psychomotor and affective factors. Especially, Parents of infants who have a class three times a week have higher cognition on the education than those whose infants have a class one time a week in both psychomotor and affective factor. Finally, parental cognition on the education according to periods of the classes showed significant differences in all three factors. Parents of infants who have a class more than one year have higher cognition on the education than those whose infants have a class under three months.

유치원 움직임 교육과정 연구

김해성 ( Hae Sung Kim ),엄옥자 ( Ok Ja Um ) 한국무용교육학회 2004 韓國舞踊敎育學會誌 Vol.15 No.2

한국 창작춤의 기호학적 접근 : 김삼진의 <저녁의 게임>을 중심으로

엄옥자,민성희 釜山大學校 附設 體育科學硏究所 2001 體育科學硏究所 論文集 Vol.17 No.-

This study is to analyze the dance work 〈an Evening Game〉 of Kim Sam-jin through the semiotic methodology. The semiotics is a field of scholarship that analyzes and comprehends each text by regarding it as a scheme of sign. Here, applying the semiotic methodology as mentioned above to the analysis of dance works means that an objective and scientific methodology is to be introduced in the dance analysis. Therefore, this semiotic methodology overcomes a limit of impressionistic dance analysis that is often used before. This analysis shows both denotative and connotative meaning through a paradigmatic classification of formal factors in the dance works When the dance work 〈An Evening Game: performed by Sam-jin, Kim〉is analyzed by using binary oppositions, we can figure out the fact that the work contains paradigmatic oppositions mostly with the secondary meaning: the reality and the desire. In this dance work has the main actress a hard time in the differences between the reality and the desire. Thus, the work presents the troubles and limits which a woman can not come over and exceed in the world of her own self-consciousness. Namely, the third meaning,'myth' in this dance work is the feminism, which is a main context that is sustaining the binary opposition between the reality and the desire. Consequently, the semiotic methodology extracts overall structure of a dance work by analysing its contents through the classification of formal factors. This semiotic analysis gives us enough possibility to comprehend dance works in detail and with width.

김삼진의 춤 <저녁의 게임>의 기호학적 접근 : 금기'에 관하여

엄옥자,민성희 釜山大學校 附設 體育科學硏究所 2002 體育科學硏究所 論文集 Vol.18 No.1

The semiotics of Greimas, A.J gives you a hint to understand modern art by analyzing traits of sign in myth and narrative. One of them is, so called, "The interaction of semiotic constraints", which is one of "approach to Taboo" methodologies. This study analyzes format and contents of 'taboo' as a whole, which is a widely used material in Korean dance, by means of Greimas's approach. I approached to Kim's 「An Evening Game」 on the basis of Greimas's 'carre′ se′miotique theory'. As a result, binary opposites ; each verdict of the square is crossed to its opposites. It presents that conflicts between regulations (culture) and love (nature) definitely take place and that troubles among characters culminate under the surroundings. Such taboo in narrative is based on myth. Considering origins and meanings of myth, you can easily notice that taboo is a good tool for commanders to control and sustain their society. Finally, taboo comes to play a role to oppression others' authorities, which are often issued in the discussion of modern philosophy. In addition, this insight can be extended to the field of "feminism's gender theory"; theory regards female as non-commanders.

무용극에서 줄거리 체계에 관한 연구

이경화,엄옥자 釜山大學校 附設 體育科學硏究所 1998 體育科學硏究所 論文集 Vol.14 No.-

The art express thing and emotion of human being to physical movement. It is a dance, But it is not sufficient situation to understand dance language in the people who used to language by the letter, sound and multimedia. This phenomena deduced instinct functions as a anti-sociological language. This is metaphysical expression of dance. The purpose of this study was to have concretion of expression as a method for popularization in dance. The following summarizes the results for methods that is to take stagization in dance drama. Dance drama have to have preceeding that is to establish story system, it is to be connected with cases, to make a detailed affair that is to develop movement for dance-language of contents. Sysmatically, it is a need to be independent of describe and characteristic setup of human appearance, characteristic expansion, setup of case and discovery of story, expansion of cases and structure of case preceeding in the process of sysmatic story. To make dance drama to stasgization, the results of this study make a offer definite method to popularization dance as a art in advance, continyously. To make additional suggestion aboout the stagizaton of dance, the formality of express gave to make dancer to characterizaton that is not only imitation of simple movement but also expression match with act in the form of expression. Characteristic preceeding of dancer have to solve theme of character development relative with progress of case, fixations of character, conquer of internal character formation. Physical change of character, meaning of physical area, conquer of physical character formation. The stagization work must take concrete shape after the recognition of the dual for the stagization of the work made throyh two stages, meanings and various technologies of stage including lighting.

先史時代의 舞踊에 대한 考察

嚴玉子 釜山大學校 附設 體育科學硏究所 1992 體育科學硏究所 論文集 Vol.8 No.-

The prehistoric age of dance was summarized from the prehistoric age to now and concluded as following; 1. An anthropoid's dance undeveloped as animal and infant stage(expression behavior was simple impulsive motion which was not organized). Therefore, they did not know how to create art, but the important key point was that stage of expression behavior contain meaning and goal because dance itself contains meaning and goal. 2. An anthropoid's dance was progressed stage and was human's nature impulse and was more than human's nature. An anthropoid's life style considered group custom rather than individual life style. Their dance rhythm act very enthusiasm which help to start developing in group life style wide range. An anthropoid express dance in social life, religion life, and every their life, because they only expressed their emotion through dance. As result, hunting dance, imitation dance, and war dance were created as kind of dances. 3. The modern stage people danced more advanced dance than anthropoid's dance. Also, they danced different depending upon age such the hunting age and collection age. Farm society contained many problems and unestimate accident. Also, the main consideration was farm. Therefore, many different style of dances were developed. Among many different style of dances, agriculture dance was developed with incantation. In the prehistoric age, it was happened with religions so it was called religion equal to life. Every important life circulation was symbolized practical and religious through dance. In conclusion, the prehistoric age of dance was only basic human's problems which connected to incantation. The prehistoric age of art, especially dance is not only the result of studies, it is very important source of critical art area. Therefore, the prehistoric age of art is a big assignment of how to accept it in modern age.

단전 호흡 및 기춤이 청소년의 기초 체력에 미치는 영향

김연화,엄옥자 釜山大學校 附設 體育科學硏究所 1997 體育科學硏究所 論文集 Vol.13 No.-

The purpose of the study was to examine the effects of Danjeon breath and Qi-dance on the basic physical strength improvement among middle school students. The subjects were 30 second-grade students attending a middle school in Pusan (15 students for an experimental group and 15 students for a controlled group). The program was composed of 20 sessions (five sessions a week for four weeks) and each session lasted for 60 minutes. The training program was Danjeon breath (warmingup movement-Danjeon breath-arrangement movement) and Qi-dance. Pre and post test measures were sit-ups, standing long jump, shuttle run, trunk flexion, and Harvard step. Major findings of this study were as follows. 1. The students in the experimental group showed improvement at the mean score. The amount of improvement was 2.93 times at sit-ups, 3.21 cm at standing long jump, 1.63cm at trunk flexion, and 3.80 steps at Harvard steps. 2. The students in the experimental group showed only 0.06 second improvement at shuttlerun. It showed that Danjeon breath and Qi-dance didn't influence power. I expected that both power and agility are hardly related with this training program. But only agility was found to be hardly related with this program. So another study is needed to find out the reasons. 3. Due to the short period of this training program, the shortage of participants, and the big difference of score among individuals, there was no significant difference between the experimental group and the controlled group. But there will be significant difference after at least three months' training when we consider the increase at the mean score. This study shows the possibility the our traditional Danjeon breath and Qi-dance will be helpful to education for the whole man. I suggest Danjeon and Qi-dance as a practical approach to physical education which is based on 'some', a way to reach the goal of physical education which emphasizes both body and mind, and a way to attain spiritual enlightment.

진주포구락무의 아동놀이적 요소 및 적용에 관한 연구

엄옥자,김해성,김신자 釜山大學校 附設 體育科學硏究所 2003 體育科學硏究所 論文集 Vol.19 No.-

This study offers children the opportunity and amusement for the play and seeks to find the Factors and Application of Children's Play in Jinju Pokuragmu, the traditional game of Korea, which can be applied to the children's play dance to improve the cultural education, the succession and recreation of the tradition, and the aesthetic development......