Creating Cultural Identity for Sustainable Urban Development A Case Study of the City of Cheongju in Korea

Sang-Cheul Choe(최상철) 서울대학교 환경대학원 2002 環境論叢 Vol.40 No.-

창의적 사고 기반 즉흥무용 수업 모형 개발 및 적용

최상철 ( Sang Cheul Choe ),김아롱 ( Ah Rong Kim ) 한국무용교육학회 2012 韓國舞踊敎育學會誌 Vol.23 No.1

We must not overlook that, thus far, there had not been as many researches in the dance programme developing students` creativity on the university level, which is the final stage of practical education that cultivate professional and creative individuals for this time to make students take one step forward to be part of the society. Furthermore, in the university dance education that nurture artist professionals facing laterally upon the creativity-based economy in the 21st century, we cannot help but admit that it is a very important task to develop programmes based on the creative movement and dance improvisation and lead continuous researches, which modern society ask us to. If it is the case, then with, what kind of contents do we have to design creative movements or dance improvisation programmes in order to educate students to have creativity that this society requires. What to teach for the best? What to choose to teach and how to teach right is a very difficult task when pondered for the educational purposes. Especially, according to the needs of the 21st century, when we consider that creative professionals exert to the fullest in a particular field with professional knowledge and skills, it is very much so. Facing this difficulty, the assertion of Berstein & Berstein(2007) brings us a great number of implications. Therefore, as an alternative method for students to cope with professional knowledge and skills from a wider viewpoint through training of integrated thinking method, this research aims to design and suggest the improvisation dance programme for dance majors based on the thirteen think-tools by Berstein & Bernstein in order to expand the opportunity to enhance students` creativity that the society of this time requires. In addition, this research includes the process of testing the suitability of the content structure of the programme by constructing surveys that indicates the satisfaction levels and achievements of the students when the programme was implemented. This research deals with the topics in specific as following; First, into what kind of activity the dance improvisation programme can be converted with its design based on the 13 think-tools. Second, how the improvisation dance programme satisfies students in their studies and how the achievements of students are. This research limited the number of subject of students to twenty-four, those who are currently attending C University(located in Gyeonggi-do) majoring in the Modern Dance in their junior and senior years. Therefore, the results may not be considered that it represents that of the whole students.

접촉즉흥(Contact Improvisation)무용의 교육적 가치와 순환구조에 관한 연구

최상철 ( Sang Cheul Choe ) 한국무용교육학회 2008 韓國舞踊敎育學會誌 Vol.19 No.2

The pace of changes in all disciplines is accelerated to respond and adapt to radical social changes in the 21st century. Dance education is no exception to those changes. Dance education has been treated as a professional education that selective few receive as non-major or that special groups to be professional dancers can get. There have been significant changes in dance art during last decade: increased interactivity due to emergence of new media, pursuit of interactivity through leveraging digitalized multimedia in dance discipline, blurring and collapse of disciplinary boundaries due to disintegration of genre striving new communication, de-authoritarianism and inducing audience participation by narrowing the distance between audience and dancers, narrowing the distance between audience and dancers by utilizing every space as stages and so on. Under the logic of deconstruction and reconstruction, those changes in dance arts are rapidly flowing to somewhere else. Today, it does not make any sense to differentiate pure arts from popular arts. Arts and everyday life coexist today. In this context, dance art seems to be making a huge progress. In the 21st century, cultural competitiveness has emerged as a significant agenda and it is required that artists and creators in art fields have innovative mind based on imagination and creativity. The purpose of this study is divided in to two category; First, identifying implications and educational values of contact improvisation. Second, formulating a model of recursive structure of contact improvisation based on the author`s teaching experience in the educational field.

2009 개정 교육과정에 따른 중등 체육교과서 기반 무용창작 교수-학습 활동의 개발 : ‘심미 표현의 이해’ 단원을 중심으로

최상철 ( Choe Sang Cheul ),김아롱 ( Kim Ah Rong ) 한국무용예술학회 2014 무용예술학연구 Vol.50 No.5

Korean curriculum follows frequent revision policy of revising it partially at any time when necessary according to the needs of the times and society. Upon revision of the curriculum, the compilation of a new textbook becomes inevitable. And textbooks are official teaching-learning materials helping implementation of the national curriculum in actual classroom situations. Therefore, it can be said that textbooks play very important functions for ensuring the quality of education. In this study, the researcher intends to propose dance creation teaching-learning activities based on PE textbooks that can embody the significance of dance education actually and can also reflect the educational goals of creative personnel training and learner-centered teaching methods which are emphasized in the current curriculum faithfully

리더로서 안무가의 역할 연구

최상철 ( Sang Cheul Choe ) 한국무용교육학회 2007 韓國舞踊敎育學會誌 Vol.18 No.2

상상력 기반 초등 5~6학년 무용 창작 프로그램 개발

최상철 ( Sang-cheul Choe ) 한국무용예술학회 2013 무용예술학연구 Vol.44 No.5

Under the social situation of widespread sense of crisis for public education, recently, new government emphasizes innovation to the ‘happy education’ as a part to overcome such crisis of education essentially. Such innovation should start from educational practice of encouraging children’s childishness so that they would be able to look at the world in a new viewpoint and exhibit their ‘innocent curiosity’ and ‘free and abundant imagination’ fully. The imaginative education itself is an ideal educational practice that can protect children’s lost ‘childishness’ and ‘innocent curiosity’. It will also be one of the shortcuts to recover the intrinsic value of lost public education and to enhance the competitiveness of public education. In this context, it is necessary to pay attention to the ‘13 thinking tools’ that are recently suggested by Root-Bernstein & Root-Bernstein(1999) while advocating the need for education based on creative imagination. The 13 thinking tools beingsuggested by Bernstein are thinking skills that have been commonly used by the persons showing creativity in a variety of fields until they obtain creative products. And Bernstein defined them as ‘the 13 tools for learning imagination-leading to creation’. The researcher thinks it is worthwhile to consider application of these 13 thinking tools as the teaching-learning principle in the imagination education. In fact, discussions about the educational effectiveness of these tools have been mentioned in many research findings recently. According to these previous studies, as the result of applying these 13 thinking tools to general creativity, gifted inventor, gardening, convergence education of arts and science, robot education and dance education programs, it has been proven that these programs contribute to improving imagination, creativity and flexibility, etc. as the sub-elements of creativity. Results of this study become practical base for proving the effectiveness and justification of applying the 13 thinking tools to educational sites. Therefore, the purpose of this study is to develop and suggest ‘an imagination-based creative dance program for elementary school 5th-6th graders’ by using the 13 thinking tools so that lost imagination would be evoked in the public education and children would be able to stretch their imagination fully. In order to achieve the key objective of this study, first of all, in this paper, the researcher intends to prepare theoretical foundation for the meaning and role of imagination in elementary creative dance education on the subject of imagination and children, and creative dance class as ‘an artistic creation’ play. On the basis of such foundation, the researcher introduces procedures and contents related to development of a program and suggests an imagination-based creative dance program for elementary school students. This study would be meaningful in suggesting one extensive method for elementary school creative dance education.

펠든크라이스 ATM® (Awareness Through Movement)방식이 무용수의 신체자각 능력에 미치는 영향에 관한 연구 - 대학 3년 현대무용 전공생을 중심으로 -

서채린 ( Seo Che-rin ),최상철 ( Choe Sang Cheul ) 한국무용예술학회 2021 무용예술학연구 Vol.82 No.2

The objective of this study is to explore the effect of warm-up activities using the Feldenkrais Awareness Through Movement (ATM)® method on the physical awareness of dance major students in a university dance improvisation class. To achieve this, scripts for 12 ATM® classes were selected, based on which warm-up activities were being conducted for the junior year dance major students at University C in Gyeonggi Province, South Korea. Warm-up activities employing the Feldenkrais ATM® Method were reported to be the most effective in Physical Relaxation, among the components of physical awareness. It was followed by “Physical Alignment”, “Sensory Reception”, “Sensory Restoration”, “Sensory Recognition”, “Mind-Body Connectivity”, “Self-image Formation”, “Concentration Control”, “Trust Factor” and “Movement Factor” respectively. The study proved that the warm-up activities using Feldenkrais ATM® method were effective in all of the above mentioned physical awareness factors.

언캐니를 유발하는 그로테스크 이미지 무용에 관한 연구 -마기 마랭(Maguy Marin)의 작품 〈May B〉를 중심으로-

김지인(Ji-In Kim),최상철(Sang-Cheul Choe) 한국콘텐츠학회 2022 한국콘텐츠학회논문지 Vol.22 No.1

본 연구는 프로이트(Sigmund Freud)의 언캐니(Uncanny) 개념과 그로테스크 이미지가 특징적으로 드러나는 마기 마랭(Maguy Marin)의 작품〈May B〉(1981)를 분석함으로써 무용작품의 미학적 해석 지평을 확장시킬 가능성을 발견하는 것에 목적을 두었다. 언캐니와 그로테스크 이론은 문헌연구와 함께 호프만의 『모래 사나이』(1816)를 사례로 제시하였다. 무용작품 분석에서는 무대공간, 움직임, 의상, 음성 등 다양한 요소들을 활용하였다. 이를 통해 이 작품이 언캐니와 그로테스크를 통해 전통적 무대미학의 고정관념에서 벗어나 관객의 정신적 참여를 제공하는 실험정신을 가진 작품이라는 점을 발견해 낼 수 있었다. 아울러 시대에 따른 관점변화가 무용 창작에 영향을 주듯이 작품 분석을 통한 다양한 미학적 해석방법의 담론화는 향후 무용 연구에 다양한 방향성을 제공하리라 사료되며, 이 연구가 무용예술의 미적 가치와 위상을 올리는 데 도움이 되기를 기대한다. The purpose of this study is to discover the possibility to expand the aesthetic interpretation of dance works. For this purpose, this study analyzes Maguy Marin’s 〈May B〉(1981) because it shows Sigmund Freud’s concept of uncanny and grotesque images well. The theoretical framework of this study was centered on previous academic studies, and Hoffman’s Der Sandmann(1816) was presented as an example to help the conceptual understanding of uncanny and grotesque. The analysis of 〈May B〉 of Magi Marin was divided into stage space, dancer’s movements, costumes, and voice. As a result of this study, it was discovered that 〈May B〉 is a work with an experimental spirit that deviated from the stereotypes of traditional stage aesthetics. And it was implemented as uncanny and grotesque images in the choreography structure. In addition, as the changes of the times have a great influence on the creation of dance works, it is thought that the discourse of various aesthetic interpretation methods in dance works can provide various directions for dance creation in the future. Therefore, this study will be helpful in raising the aesthetic value and status of dance art.

Murray Schafer의 사운드스케이프 개념을 바탕으로 한 무용작품 〈RE:discovery〉의 창작과정 연구

라세영(Se-Young Ra),최상철(Sang-Cheul Choe) 한국콘텐츠학회 2021 한국콘텐츠학회논문지 Vol.21 No.6

본 연구는 머레이 쉐이퍼(Murray Schafer)의 사운드스케이프(Soundscape) 개념을 통해 소리의 구분, 지각, 요소의 이해를 바탕으로 일상생활 속의 소음과 비음악적인 소리를 활용한 무용작품 〈RE:discovery〉의 창작과정과 이에 대한 음악적인 효과 및 새로운 안무 유형의 가치를 탐구하는 것을 연구의 목적으로 두었다. 실기기반연구(Practice-based Research)의 방법론적 연구에 따라 실기, 이론, 평가의 단계를 몸적 자료(Somatic Data)로 축적하였으며, 『공간디자인과 조형연습』(2003)의 일부분을 기반으로 형상화 방법, 움직임 형식, 공간화 방식으로 제시하여 분석의 근거를 마련하였다. 그 결과 창작과정에서 사운드스케이프, 즉 일상생활 속의 소리에 대한 음악적 효과 및 새로운 움직임 창작방법을 발견해낼 수 있었으며, 소리 역시 작품의 전반적인 분위기, 움직임의 의미, 작품의 주제를 효과적으로 전달할 수 있는 가능성을 탐구하였다. 아울러 사운드 스케이프라는 개념을 바탕으로 연구되어 나타난 소리에 대한 잠재적 가능성은 무용작품의 또 다른 창작환경을 만들어갈 수 있을 것이라 기대한다. This study is subjected to two linked research. First is the creation process of dance work <RE:discovery> applying noise and non-musical sounds in our daily life based on understanding the classification, perception, and factor of the sound, through Murray Schafers concept of soundscape. Second is to find the value of new type of choreography and musical effect of creation process of the dance work 〈RE:discovery〉. According to methodological research of practice-based research, three stages which is practice, theory and evaluation were accumulated as somatic data, And the analysis was provided a basis by presenting in a figuration , form of the movement and method of specialization with reference to the paper 『space design and forming practice』(2003). As a result, the creation process was able to discover the musical effect of the sound in daily life and new method of choreography, and also find the possibilities that sound could convey the theme of the dance work, the meaning of the movement and the overall atmosphere of the work to audience. In addition, It is expected that will have been made another new creation environment by potential that music has based on concept soundscape.