초,중등 무용교과 독립의 정당성과 방향성 연구

김화숙 韓國舞踊敎育學會 2004 韓國舞踊敎育學會誌 Vol.15 No.2

This study aims to establish a concrete basis for an answer to a question why the separation of dance curriculum is required for normalization of dance education. To this end, we investigated problems of dance education that is being carried out in elementary and secondary schools under the current 7th curriculum in Korea and examined the trend of global art education. Since dance is currently treated as a part of physical education curriculum from the third grade in elementary school through high school, it can hardly achieve its original goals. Dance classes are taught by teachers with physical education teaching certificates; therefore, it is less likely for dance education to achieve its specificity. In elementary and secondary education aiming at education for the whole man, art must be made a compulsory course, not an elective course. All students have the right to be taught art education. Dance, which is now handled in physical education subject, should be made independent as an art course, and it should be taught by dance specialists. When the following problems of Korean dance education are institutionalized by administration system, we could expect normalization of dance education. 1.Separate dance subject and adopt 'art7(dance, fine art, music, play) as every citizen's common subject. 2.Establish the nation's standards for dance education. 3.Introduce an independent system of 'dance teaching certificate' for dance department graduates. 4.Operate a 'dance-exclusive teacher system' in elementary school. 5.Revise statutes concerned (elementary and secondary education law enforcement ordinance). The current climate for education overly stressing scientific knowledge for production is apt to give rise to students' emotional deprivation. Art education, which is like fresh-water to them, will be able to pull out their potentiality that is hidden deep inside and to develop their ability to express themselves and their creativity. Furthermore, it is educators' responsibility that provides students with an environment where they can receive a richer and more practical education by approaching diverse cultures and arts of their historical inheritance. To provide students with opportunities of experiencing diverse art genres through school education is a paradigm for a new art education that is essential in this age and a demand for education in the 21st century.

중등학교 제 7차 교육과정에 기초한 창작무용학습의 내용과 지도모형

김화숙 韓國舞踊敎育學會 2001 韓國舞踊敎育學會誌 Vol.12 No.1

The purpose of this study is to propose an effective teaching model for creative dance loaming in the secondary school. The results of this study are expected to offer helpful content composition and goal setting for physical education (or dance education) class based on the recent 7th curriculum reform. The framework used for this study is a dance art education, i.e., Midway Model (creative - performance - viewing), the core of recent dance education. The results of the study have been reached by examining and analyzing research trends and previous studies by dance educators. First, the author has applied to secondary school education the same criteria for the goals for creative dance leaming, set for elementary school education, that was used in her previous study(2000: 17). The goals of creative dance loaming are as follows: 1.Students can recognize and apply the elements of their body movements. 2.They can express their feelings and thoughts through their bodies. 3.They can apply to dance the materials and contents from other sufect. 4.They understand the principles and processes, and the composition of choreography. 5.They understand dance as a method for creative, performance, and viewing. 6.They understand and perform dance from the perspective of diverse cultures, histories, and times. 7.They can have a critical and analytic aHitude toward dance appriciation. Second, the contents of creative dance learning will be ideal when they are composed of the complete stage units of creative, performance, and viewing. 1.creative : body design, body aweless, movement application, improvisation, imagination, and composition with a theme. 2.performance : rehearsal, refining, and presentation 3.viewing : observation, explanation, interpretation, analysis, and evaluation. Third, a model for creative dance loaming in the secondary school is to be composed of the following seven stages : 1.warm up (introducing the concepts) 2.concept exploration (exploring and observing homework assignments, exchanging dance images and ideas, studying action words) 3.skill development (developing action skills, teaming and refining techniques) 4.composition (discovering and developing actions through improvisation; choosing and selecting actions; making action phrases; utilizing various aesthetic principles such as repetition, change performance, succession, contrast, balance, harmony, proportion, climax, and unity; logical development) 5.performance (repetition of practice; editing and complementing of work; poup presentations) 6.viewing (observation; discussion; evaluation) 7.cool down (bloating and wrap up; strectching and review of concepts; presenting research assignments) In addition, a class for "creation by themes" can be ideally conducted when it is planned and conducted not in a one-hour class, but in a three-hour class (first class : concept exploring and skill development, second class : work composition, third class : performance and viewing). The contents and the model for a creative dance teaming cLass presented in this study will be introduced to the secondary school teachers who participate in the annual workshop for dance teachers held by The Korea Dance Education Society. They will then be edited and complemented by feedback. Therefore, continuous research on the topic is essential in order to develop class programs that can be used in the actual classroom.

교육으로서의 무용

金和淑 韓國舞踊敎育學會 1995 韓國舞踊敎育學會誌 Vol.5 No.-

Of the various aspects of dance, dance as education in the schools is the concept this thesis specially focuses on. In this thesis, the characteristics of dance as education are discussed, in addition further argued are made concerning the possibilities of independence of the study of dance, furthermore, results were compiled from the analysis of creativity and cultural heritage in dance which seems to be overlooked in dance as education in Korea. 1. It seems that dance as education in schools would be more fruitful if dealt as an aspect of artistic education rather than physical education. Therefore, as an independent area of study, dance can contribute to the curriculum development through artistic and aesthetic education, cultural education, personal and social education, physical education, health and fitness, cross-curricular learning, and prevocational learning. 2. The characteristics of educational dance have values in the dual aspects of movement education and expression, including the body and the mind. Thus dance is a study of the human itself encompassing mankind and envisioning the wholeness of the human being through creative activity. 3. Dance as education puts the purposes in teaching the student, the value of dance as cultural heritage and developing creativity. - In modern society, the development of creativity and imagination is the central issue in education at shcools. Educational dance is no exception. Improvisation is an effective way as a mothod for developing these two objectives. - Dance is a part of national culture. The aspects of cultural education must be stressed in educational dance for providing the much understanding and conception to the tradition. - Therefore dance lesson is possible for students for fully understanding the value of our cultural tradition. In other ways, the participation and appreciation to the dances of other nations can promote the understanding of other culture and provide the experiences of various culture. For attaining theses purposes, it is very essentional to develop dance programs for all ages and this objective must be improved through the study of teaching method and reeducation for dance teachers.

대학 무용(학)과의 체제분석

김화숙 韓國舞踊敎育學會 1992 韓國舞踊敎育學會誌 Vol.2 No.-

On the assumption that the establishment of the National Art University and other ballet troupes should be done professionally out�d present university/college systems, this study tries to analysis the academic course, the situation of the faculty, and the enterance examination system, especially of dance department and curricula from existent 24 schools which may or may not be included in their universities or colleges. The finding of the study are as follows: (1) Their curricula largely consist of 43% of Technique class and 57% of theoretical studies, though the efficiency of the latter is dubious. (2) The contents of Technique class are mostly allocated for the Korean Dance, Modem Dance, and Ballet(equivalent to 77% of the lessons). (3) The subjects of theoretical studies are theoretical foundation(fine arts, history, introduction), stage formation, dance composition, dance education, dancing science, dancing psychology, music for dance, physical education, folklore, and so forth . It is discovered necessary, however, to define well the terms of subjects which are not used differently and variously too much. (4) For the situation of the faculty, the fact that professors who teach theories of any kind only make up 7% of the whole faculty analyzed indicates the critical shortage of theory-oriented professors. Additionally, the analysis shows that the number of full-time professor per Univ is 3.5, indicating an immidiate necessity of recruiting professors majoring in the dancing. (5) As for the entrnace examination systems, most of them consist of examinations for practices both in a major field and in a sub-major field, most of whose contents are classified into only three parts, Koran Dance, Modern Dance, and Ballet even at the time of entrance. Discussion (1) The study suggests that the dance department should be further classified into three types, e.g.dept. of performing Art in Dance, dept. of theory in Dance and dept. of Dance Education that objects of their establishment should be made clearly, and that new, bold curricula suitable for them should be reorganized and operated. (2) The dept. of Dance Education cancelled since 1984 should be restarted at the Korea National University of Teachers' Education, and graduate schools of Dance Education should be established more to educate dancing directors. (3) The notable, common problem facing the dance department among the entrance systems, curricula, and the situation of the faculty is that Korean Dance, Modern Dance, and Balltet are too much weighted. Suggestively, the range of majors in the dance department should be subdivided far away from the rigid 3-way categories. (4) Finally, the entrance examination system should be explored and discussed continuously, especially in terms of : ·The establishment of contents and standards fo examining elementary talents, ·The methodologies and estimation of testing creativeness capability, and ·The objective standard tables or bases for grading.

브레인댄스(BrainDance)의 교육적 의미에 관한 연구

김화숙,신용숙 韓國舞踊敎育學會 2006 韓國舞踊敎育學會誌 Vol.17 No.2

This study analyzes the principles and processes of BrainDance education developed by Anne Green Gilbert. The goal of the study is to discover the educational potentialities of the BrainDance and provide the basic materials necessary for developing BrainDance educational programs. The BrainDance is based on the fundamental movement patterns that babies discover in their first year. These movement patterns wire the central nervous system to maximally utilize the potentialities of the brain. There are eight movement patterns in the BrainDance: 1. Breath, 2. Tactile, 3. Core-Distal, 4. Head-Tail, 5. Upper-Lower, 6. Body-Side, 7. Cross-Lateral, and 8. Vestibular. The BrainDance is composed of the holistic and sequential movement patterns. Each pattern provides the foundation for the next. In addition, the patterns can be modified according to the students' ages and levels. The BrainDance integrates the body and the mind effectively, and lessens tension. It also allows freedom to the performers. The benefits of the BrainDance presented by Gilbert are summarized as follows: (1)The BrainDance develops sensory integration and proprioception(knowing where the body is in space) by breath and tactile. (2)The BrainDance encourages awareness between the performer and the environment. (3)The BrainDance develops self-control by encouraging physical and emotional stability. (4)The BrainDance develops horizontal and vertical eye tracking necessary for reading. (5)The BrainDance strengthens balance and coordination. The characteristics of the educational relationship between the BrainDance educator and the students are summarized as follows: (1)The students take charge of learning by being the center of learning environment. (2)The students experience the physical, emotional, and mental integration. (3)The students experience the physical and emotional happiness through the connection of emotion - reasoning - learning. (4)The students experience social interaction. (5)The students can develop themselves. In conclusion, the educational possibilities of the BrainDance are that the learners are in control of educational activities, the BrainDance encourages the integration of body, emotion, and mind, it pursues the unity between knowledge and behavior by integrating learning and practice, it improves relationships through interaction, and it encourages self-development.

초등학교의 창작무용학습을 위한 내용구성과 지도모형

김화숙 韓國舞踊敎育學會 2000 韓國舞踊敎育學會誌 Vol.11 No.1

The puropose of this study is to propose a teaching model which has a desirable content composition and goal setting for a creative dance learning in elementary school. This study has achieved the following results by examining and analyzing research trends and previous studies by dance educators on the basic of an art dance model, i.e., Midway model (creating - performing - viewing), which has become a core of the recent dance education. First, the purpose of a creative dance education is as follows: ①Students can recognize and apply the elements of their body movements. ②They can express their feelings and thoughts through their bodies. ③They can apply to dance the materials and contents from other subjects. ④They understand the principles and processes, and the composition of choreography. ⑤They understand dance as a method for creating, performing, and viewing. ⑥They understand and perform dance from the perspective of diverse culture, history, and time. ⑦They can have a critical and analytic attitude toward dance appreciation. Second, the contents of creative dance can become ideal when they are subdivided into five stage units: ①exploration for dance elements, ②movement application, ③improvisation, ④imagination, and ⑤composition. Third, a teaching model for creative dance should be composed of the following five stages: ①warming up, ②concept exploring, ③composition, ④performing and viewing, and ⑤cooling down. Class at the stage of "creation by themes" can be conducted most ideally when it is planned and conducted not in a one-hour class, but in a three-hour class (first part: concept exploring, second part: work composition, third part: performing and viewing).

대장암에서 Glucose Transporter Gene의 발현

이석환,박재훈,김윤화,오수명,윤충,주흥재,이기형 대한대장항문학회 2000 Annals of Coloproctolgy Vol.16 No.2

創作舞踊의 段階別 指導內容에 對한 硏究 : 中ㆍ高等學生을 中心으로

金和淑 圓光大學校 1982 論文集 Vol.16 No.2

This thesis aims to consider the syllubus of the creative dancing. to, illustrate its importance in the point of the college education of dancing, and to try to find the effective method to teach the creative dancing. The conclusions this study arrived at are following; 1. The crux of dancing in college education lies in the courses of the creative dancing. 2. Thus we have to put much emphasis on the creative dancing. 3. The syllubus of the creative dancing has to be carried out to the following steps; (A) body design, (B) expression by the contrast themes, (C) application of movement, (D) improvisation, (E) creation by themes. 4. The teacher's role is very important in carrying out the syllubus. The teacher has to help students to express their creative dancing and to connect their knowlege with the creativity. 5. The teacher has to consider the student's ages, educational surroundings, and individual differences when he applies the syllubus of the creative dancing to each class flexibly. 6. The teacher has to develop and apply the concrete syllubus suitable to the students' abilities and ages.

청소년을 위한 무용교육, 무엇을 가르칠 것인가?

김화숙 韓國舞踊敎育學會 1997 韓國舞踊敎育學會誌 Vol.8 No.-

안무의 요소에 관한 연구

金和淑 韓國舞踊敎育學會 1996 韓國舞踊敎育學會誌 Vol.6 No.-

Choreography is a creative behavior to make a work of art, particularly to express more fundamental things in dancing, so it is regarded as an activity of freedom in the ontological sense. That is, choreography is the creative art process in dance. Choreographic methods are as numerous as choreographers and works of dance. To yield a good work, necessary elements of choreography, - aesthetical principles, internal, external, external, and extra ,factors of dance composition-must be examined in detail. And necessary elements of choreography can be concretely presented as follows: 1. To create an excellent work, sequence (transition, continuty, flowing), variety(contrast, repetition, climax) and harmony (proportion, symmetry, balance) should logically develope and have a unity. These elements are the very aesthetical principles of dance composition. 2. The internal elements of choreography are the previous steps before forming a ow가 including the process of psychological demands, motivation, theme, exploration and observation (psychological, social and philosophical) about the object of theme establishment. Throughout these processes, choreographer can develope images of theme further with his creative improvement. 3. The external elements ;of choreography include improvision discovery of movement and processes of distinction and selection, through which choreographers develope movement languages, compose movements and finally make expressions. Good expression is good composition, and choreographers can develope their work further through imaging, transforming and forming. 4. Extra elements - music, costume, make-up, stage selection, props, dramatic elements and lighting - can heighten the effects of work if properly used.