The objectives of this study were to build the theoretical model by analyzing the paradigm of shinmyeong state (expressional condition, state, and result) in the Korean dance, and to develop and validate the inventory that can measure the shinmyeong s...
The objectives of this study were to build the theoretical model by analyzing the paradigm of shinmyeong state (expressional condition, state, and result) in the Korean dance, and to develop and validate the inventory that can measure the shinmyeong state of the Korean dancers to facilitate more objective and scientific approach toward the shinmyeong state. Structure of the shinmyeong was analyzed using the open-question survey (n=105) and the in-depth interview (n=9). Based on the results from such qualitative studies, the instrument that enables the empirical measurement of the shinmyeong state in Korean dance has been developed. DSSS (Dance Shinmyeong State Scale), the instrument developed through the study, was validated through 992 Korean dancers (explorative:365; confirmatory: 627), results of which are appeared below.
First, the shinmyeong experience was found as 593 data points, 15 subfactors , and 6 main themes, and was structured into the three major factors of expressional condition, state, and results. More specifically, two main themes of expressional condition of shinmyeong were found to be the 'dance element' and the 'specific situation and momentum' . The subfactors of the 'dance element' were music, expertise, and extemporaneousness, and the subfactors of the 'specific situation and momentum' were space and atmosphere, and the momentous event. Next, the main themes of the state of shinmyeong were extracted as two aspects; the 'entry into the shinmyeong (sense of unity, concentration, and transfer)' and the 'shinmyeong experience (pleasure and trance).' Finally, the two main themes of the result of shinmyeong were found to be 'synchronization of the dance' and the 'affective change.' The 'synchronization of the dance' included the subfactors of confidence and passion, attitude change, and the satisfaction and maintenance, whereas the 'affective change' included the subfactors of the production of the positive energy and the elimination of the negative emotion. Next, DSSS (Dance Shinmyeong State Scale) was developed. Based on the subfactors of the Shinmyeong drawn from the qualitative study above and the results of the existing literature, the elements consisting the Shinmyeong status of Korean dance were conceptualized as 4 factors and 30 items. Through the item analysis and exploratory factor analysis, finally, the elements were extracted as 4 factors and 19 items( pleasure: 5 items; sense of unity: 5 items; trance: 5 items; concentration: 4 items).
Next step was the DSSS validation. To learn about the structural validity of the DSSS, confirmatory factor analysis was conducted, and found that the 4 factor 19 item model is the appropriate structure. Through the DSSS multi-group confirmatory factor analysis and the invariance test (feature, measurement, intercept), the invariance of the structure was confirmed so that found that the DSSS is appropriate instrument for every group with different expertise (high school, college, and professional level). Then, the latent mean difference among the Korean dancer groups and the effect size were calculated. As the high school dancers as the norm, the college level dancers in general showed higher level of latent mean in pleasure, sense of unity, trance and concentration. Finally, DSSS showed the positive correlation with the external norm factors (internal motivation, dance passion, and dance satisfaction).
In this study, the concept structure of the Korean dancer's shinmyeong experience was analyzed. Also, DSSS that enables empirical measurement of such experience was validated as the questionnaire reflecting the reality of the Korean dance, and found to be applicable to all the level of the dancers (high school, college, and professional level). Finally, DSSS was shown to have positive correlation with the internal motivation, dance passion, and dance satisfaction, indicating that the shinmyeong experience is the positive emotional element, which simultaneously confirmed the utility and functionality of the experience.