한국 장단 및 춤사위 학습이 아동의 무용 표현력 발달에 미치는 효과

이종만 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

The strdy purpose of this sutdy is to furnish basic date necessary to the improvement of dance education in the elenlelltary school, by expenmentiong and studying what effects learning If Korean rhythm and Chumsawe has on the development of polver of dancing expression. To attain the purpose, the present writer developed materials for teaching dance for elementary school on the basis of Korean rhythm and Chumsawe and a learning program for Korean rhythm and Chumsawe, and applied to 100 children of the foufh grade in attached elemeiltary schoul of Hong-ik University for two hours ebery week for four months. The result of experiment of Korean rhl·thm and Chumsawe learning Is as follows. 1) Children are indifferent to our folk dance, scarcefy apply it to their life, and halre a tendency to prefer western dance. 2) There was meaningful difference of 1% in back and fonh molrements of the subject of experiment, and there appeared marks which they kept in mind in their movements in the aspect of the development of the sense of rhythm, imprompt powpr and the sense of sphere, when learning of dance was practiced centering around wastern rhythm and movements. 3) A result of the learning of Koreail rhythm, and Chiunsawe, the subjects showed wome differences from other compared students in the development of the sense of rhythm, impromptu power, and the sense of sphere among the power of expression. 4) The subjects showed more voluntary, active and proude manner than other students in the dancing expression, 5) The effect of power of expression and idea in dancing appeared through the learning of Korean rhythm and Chusawe luas sholtred not through onomatollotic learning of folk dance, but through creative learning to thry to utilize basic Chumsawe and express various movements. 6) Because the learning of Korean rhythm and Chumsawe contributes to understanding of our national culture, heightening of wilt to create and applying of our national culture, heightening of will to create and applying of Korean rhythm and Chumsawe for our life, it is more effective on education for the whole man, Ivluch is the object of elementary sehool, than western dance. Chumsawe for our life, it is more effective on education for the whole man, which is the object of elementary school, than western dance.

초등학교 어린이의 리듬지도에 관한 연구

구복자 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

The aim of this study is to introduce an effective learning activities for the devel-opment of creative power among primary school pupils by giving them rhythmical education step by step. The content of the rhythmical education can be analyzed as follows : 1.The aim of the guidance of moving rhythm lies in the promotion of ability to do free and beautiful physical exercise. Therefore, opportunities should be offered enough to be able to express through their physical rhythm what they feel and think. 2.In a preparatory stage of rhythm guidance the senses of speed, strength and weakness, accent, and beat should be given in due sequence. 3.The steps of rhythm guidance could be effectively directed by beginning with si-ngle rhythm to complex rhythm, and by following the due order of linking and stop-ping in a rhythmical pattern, its division and subdivision, and its practices. 4.Learning activates should be directed to be able to develop sociability by expres-sing their ideas to the full in this socially related system of the world. This will su-ccessfully be done through mutual demonstrations of their own performances during their exercises of them. 5.Grown -ups and children of their emotional feelings, and therefore, the teacher should stand in the children's place, not in this own, when in directing excercise of rhythm.

무용요법의 기초적 심리과정에 관한 고찰

박은규 한국초등무용학회 1999 한국초등무용학회지 Vol.1999 No.4

Putting its focus on interpersonal relations, dance therapy seeks to help individuals have an adaptive power and develop their own personality. It is used to generate movement from human consciousness and unconsciousness, physical senses and perceptions on such senses. Then the therapy guides active imagination to express basic emotions and physical needs. Clients who need dance therapy will experience mental and physical relaxation as an effect of repetitive physical exercises. They also could perceive the objective, interpretation and evaluation of movement through the therapy. Thus clients who require dance therapy will experience a gradual transfer from a state of mental and physical chaos to that of stability as a result of repetitive physical exercises. This experience can be accomplished when a client has a series of programs with the help of a dance therapist. A client will discover his or her self-conviction and physical movement so far non-recognized through such experience. Dance is stimulated by basic human emotion and movement and then expressed through physical movement. Thus such emotion and movement are an origin of dance. This study examined how dance therapy is influenced by psychological process as deeply intrinsic to human beings. 1.Physical expressions emerged from human consciousness and unconsciousness are traces of human thought or remembrance and behavioral pattern. Therefore, they become an applicable opportunity of connecting between body and mind in dance therapy. 2.Physical expression by a client can be clearly understood by accurately determining a psychological significance of human body. 3.Positive and active imagination can provide a main way through which unconsciousness is expressed by dance. 4.Physical expression or impromptu and liberal dance in dance therapy contains psychological contents based on consciousness and unconsciousness. Thus it makes a potent problem exposed out, and a catharsis process is proceeded.

초등학교학생을 위한 창작무용 학습지도에 관한 연구

한선숙 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

Creativity is the ability to recreate what is now a past experience into something new. It is necessary to help the children recreate their past experience and enjoy the fun of creativity and also help them to grow a habit of being creative independently by training them to participatc in creative activities. This ability to consciously, independently act on one's own is what is needed in this modern society that we live in. It is important for the teachers to remember that this cannot be attained without the students' active participation and only this can promise self development. Therefore teachers have to create an environment where f!udents can actilrely search for values and recreate. All students have creativity and this must be developed and nurtured like other potentials iti each individual. One of the best ways to do this is for the student to have emotional stability. It would be helpful if the relationsllip between the student and the teacher is close and warm and the same for the relationship between the children and their parents. Creative dance in primary school will instill in children th ability to creative new movements by controlling their phlrsical rhythms and body movements which will help the phylical, psychological as wrll as emotional drvelopments. Therefore, creative dance will be a very important tool in developing the creativiiy and understanding of the children who will face the 2lst century.

라반의 동작 분석과 안무적용이 무용교육에 미친 영향

최청자 한국초등무용학회 2001 한국초등무용학회지 Vol.6 No.1

The purpose of this study is to present how to teach dance more systematically by Labanian theory, through making an experiment on the possibility of application of Labanian movement analysis theory to dance education. The emphasis of this study is to standardize Labanian principles of movement analysis. Presenting a method of creating and choreographing by a thorough application of Labanian principles, we tried to develop dance technique and creative choreographic faculty of dancer on his own. And by applying Labanian theory to creation, choreography and dance technique in the actual stage art, we experimented the value and possibility as a stage art of Labanian theory. This study contains Labanian process of movement analysis and theories of its application to choreographic method, that is, movement analysis through motion and four factors of change in choreography -- timing, space, weight and flow -- and finally analyses of actual works which were applied to these results. This study also means to prove the practicality of Labanian theory by its extending to a stage art. This practicality was proved through our several works -- Autumn, A Man on the Beach, Pullim Sori and etc. -- which were performed for this study. As the result of analysis of these works, Labanian theory of movement analysis proved to be a necessary element for dance education. According to dance specialists' analysis, the dynamic and solid sense in dancers' movement was strikingly improved, and they became more natural in movement interconnection, and also their ability to use space and energy was prominently transformed. By applying Labanian theory to practical training, dancers' sense of tempo in dance movement was improved and their dance became active by stages. This result means that Labanian theory is very useful for dance education. In conclusion, Labanian scientific and systematic theory of dance is necessary for dance education of today, and the application of this theory to the principles, elements and rules of Korean contemporary dance could provide many possibilities to develop the quality of works and to find new meanings of men's movement. And finally we expect this conclusion could be also applied to the education and the principle of creation in ballet and Korean traditional dance.

초등무용수업에서의 남녀 학생참여 및 상호작용 유형 분석

현선희 한국초등무용학회 2001 한국초등무용학회지 Vol.6 No.1

The purpose of this study was to identify the participation of the female and the male students and the interaction patterns in the elementary dance classes. For this study I observed the third-grade dance classes at Peacod elementary school in Seoul. The research system was the ethographic study that was based on the qualitative methodology. Data were collected through various methods such as in-depth interviews, video-tapes and document analysis. There were differences in the female and the male students. Four styles of the participation were categorized in boys; 'the leaders', 'the sympathizers', 'the spectators', and 'the desperate dancers'. 'The leaders' in group showed that they were active, creative, and scientific, and that they decided to adopt methods democratically. 'The sympathizers' showed that they were negative in the expressions and that they took in proposals of colleagues and followed them well. 'The spectators' showed that they were indifferent to their tasks, and didn't manage their tasks well. 'The desperate dancers' showed that they intented to their tasks, but couldn't participate in their tasks. Three styles of the participation were categorized in girls; 'the taking care of', 'the interferers', 'the sympathizers'. 'The taking care of' showed that they were positive, highly skilled in their tasks, and took after their colleagues. 'The interferers' showed that they were ardent to do their tasks and contended for victory. Their skills were high or medium. 'The sympathizers' showed that they were negative but participated in their tasks. There were sexual differences in the interactions, too. The interactions were divided into two classes. First class was to do the task participation, the task appreciation, and the environments. Second class was boy to boy, girl to girl, boy to girl. In the task participation, boy to boy showed scolding, forcing, and pacifying; girl to girl showed pacifying, scolding, rebuking, forcing, and satisfying; boy to girl showed disputing, forcing, cooperating, and ignoring, In the task appreciation, the interactions were classified the positive and the negative. The positive interactions were admiration, encouragement, mimicry, control, self-satisfaction and banter; the negative interactions were indifference.

초등학교 탈춤 교육모형 개발연구

이병옥 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

An Approach to a Substantial Instruction in Mask Dance Appropriate to Primary Schools as Ones of Dancing Curriculum Since the New Curriculum has been declared, primary schools have already beillg applied to this 1995. Throughout the educatlonal history of Korea, it is the first time that Mask Dancing has appeared in athletics as one of the folk dancing fields tetally nonexistence. In consideration of the above, the treatise puts its emphasis on the improvement of Mask Dancing direction appropriate to each level of schools and also on the basic situation of Mask Dances as an educational curriculum itself. 1st studied on the educational value on Mask Dance as a basic study on Mas Dancing curriculum, then the principles of selecting on what to instruct and Iastly the history of Mask Dancing and its dramatic features as a basic theory of Mask Dance. 2nd. considered what to teach and how to teach Mask Dance under the new curriculum and the status of Mask Dance in athletics, and also on the liable problems in teacning Mask Dances by using textbooks. 3rd, collected and considered all the possible types and steps of Mask Dance throughout the country and analysed the principle types and steps to select some modeis to teach and to establish the teaching plans of Mask Dance. 4th, formed a masterplan appropriate to each level of schools by integrating the above results. Some of the main points of the above master plan according to Primary schools are as follows. Teaching basic forms and steps of Mask Dances that is, teaching basic theory and practice. making them interested in Mask Dances and also making them to know precious cultural heritage

초등학교 체육교육과정에 필요한 움직임교육의 실제

박순희 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

The Practical Application of Movement Education across Physical Education in Elementary School One of the most important issues in a recent technological society is about human body. In particular, selected physical activities are needed for the developmen; of human organs, the protection and defense of body parts, and various social experiences. Movement education which tries to educate through physical activities from the progressive viewpoint is a recent trend worldwide. In Korea the 6th, through the 4th and 5th, national curriculum is designed to include movement education across physical education. The purpose of this study is to provide the teachers who are responsible for the effective curricular management urith the theoretical framework of the moliement education. The role of teachers in movement education is to help children be adapted and adjusted to various environments. Based on the previous researches, the values of the teachers and students are reviewed. The basic elements of the movement are explored as a content of the movement education. The direct method, indirect method, and the restrictive method are suggested as of:effective teaching methods of the movement education. The models of the class and class activities are presented as a practical applicatioin of the movement education. Finaliy, continuous researches and various teachers retraining are required for the practice and the settlement of the movement education.

유아기 어린이 움직임의 연령별 리듬 반응 분석

김남희 한국초등무용학회 1996 한국초등무용학회지 Vol.1 No.1

The purpose of this study is to analayze the rhythm response of the fellows ; walking step, running step, skipping step and hoping step, perfermaing this steps with claps to the rhytm. The result of this analysis are as follows . Generally speaking, all kinds of movement were famous that developing its level up to the high age. The same result Ivas sholvn in as the above. In case of walking to the rhythm, development of movements had been turned out big difference by age, but practical age that walking to the various rhythm appeared since 5 years old. And running to the 1/2 beat had been possible in case of overall children. On the other hand, most of children were able to perform running to the 1 beat 2 beat since 6 years old. Also, skipping step and hoping step were inferior to the other step in terms of the percentage of success in movement but it wae elevated by step to the high age. As walking with claps develop the level of movements gradually, every child at six was abje to walk to the various rhythm. And walking to the 2 beat became higher developHent at five. As running with claps, childrem walked to the various thythm to some degree since 6 years old and they doveloped very much the ievel of movement at five. Skipping step woth c!aps to the rhythm, most of cilildren appeared very low in terms of the level of movements, and hoping step with claps became developed well to the level of movement at 6. Sometimes, There are result different from general view which all kinds of movement's development are followed by age, too. But that result isn't able to know clearly whether the general characteristics of children, or just original characteristic of testees in this test. Therfore, it Is required that a study in this area should be deeper in order to establish to characteristic development of infants continously.

창작무용 학습이 아동의 지능발달에 미치는 영향

배소심 한국초등무용학회 2001 한국초등무용학회지 Vol.6 No.1

The purpose for the study was to examine the effect of a creative dance program on the development for children' Intelligence Quotient. The subjects of this study were 70 elementary school students; 35 the for control group, 35 for the experiment group, respectively the experiment group was subjected to the 16-week creative dance program 3 times a week, while the control group received Aerobic, Jazz, Dance sport, Folk dance lessons. The results of this study can be summarized as follow; First, A creative dance program group was higher than a traditional program group in intelligence development effect(creative dance group p<.001, traditional group p<.05). Second, A creative dance program group did not develop the ability of space perception and the reasoning power than a traditional program group did.