인문,사회과학편 : 무용전공 여대생의 수업스트레스와 자기효능감 관계 분석

김정숙(JungSookKim),표내숙(NaeSookPyo) 한국체육학회 2006 한국체육학회지 Vol.45 No.6

이 연구는 무용전공 여대생의 전공에 따른 무용수업 스트레스와 자기효능감을 분석하였다. 연구의 대상자는 총 287명 이었으며, 한국무용 96명, 현대무용 96명, 발레 95명이었다. 무용전공 여대생들의 전공에 따른 무용수업 스트레스와 자기효능감 관계에 대해 ANOVA를 시행하였으며, 무용수업 스트레스가 자기효능감에 미치는 영향은 중다회귀분석을 시행하였고, 무용수업스트레스와 자기효능감간의 관계는 정준상관분석을 시행하였다. 분석결과, 전공에 따른 무용수업스트레스는 유의미한 차이가 없고, 신체적 자기효능감은 신체적 자기표현 자신감요인에서 유의한 차이가 나타났다. 각 변인간의 영향력은 무용수업스트레스의 하위요인 중 자신감 부족과 시설 조건 요인이 인지된 신체능력에 영향을 미치고, 학습내용, 자신감 부족 그리고 시설 조건요인이 신체적 자기표현 자신감에 유의미한 영향을 미치는 것으로 나타났다. 정준상관분석은 종속변인간의 상호관련성에 유의한 의미가 있는 것으로 나타났으며 신체적 자기표현자신감이 높으면 학습내용, 자신감 부족 그리고 교사불만에 중요성을 높게 갖는다는 것을 알 수 있다. 따라서, 낮은 무용수업 스트레스를 가진 학생들은 무용 학습에 적극적으로 임하고, 자기효능감이 높아 자신감 있고 긍정적인 무용학습을 할 수 있을 것으로 사료된다. The aim of this work was to analyze the relationship between dance classes stress and self-efficacy of college woman major in dance who consist of korea dance 96, modern dance 96 and ballet 95. ANOVA was used to get the relationship between dance classes stress and self-efficacy with relation to major of college woman major in dance, and regression analysis was measured for how dance classes stress has an effect on self-efficacy, and canonical correlation analysis was find inter factor relationship. The results showed that there is no difference in dance classes stress and difference in self-expressive confidence by major. Perceived physical ability factor has significantly influences lack of self-confidence and environmental conditions and self-expressive confidence factor has significantly influences content of class, lack of self-confidence and environmental conditions. And self-expressive confidence highly, content of class, lack of self-confidence and dissatisfaction of teach. In conclusion, the low dance class stress has positively influenced on self-efficacy of college woman majoring in dance.

커뮤니티댄스의 집단성과 비경쟁적 구조의 상관성

한혜리 ( Han Hea-ree ) 한국무용교육학회 2021 韓國舞踊敎育學會誌 Vol.32 No.2

This study explores the functions of dance in the close community structure which is the result of each individual’s decision and selective behavior for autonomous participation in dance. The conclusions of this study are as follows. The close community dance is the experience of moving from each one’s world towards the community world, and the dance as an expression of one’s thinking and mind at that time is eventually the self-expression technique. In the process of understanding oneself and others, the perception of self-expression ability and social imagination of observation and ‘taking the role of the others’ is self-awareness in community dance. And in community dance, the self is realized into originality and identity. The identity realized through acts is expressed into dance acts in the structure that shows self-control and belief emphasizing the independent individual with certain characteristics beyond oneself who is doing something now. Community dance as the expression of independent individuals’ thinking, is the dance of structure where the meanings are expressed in the place (community where other thinking, originality, and identity are communicated) for discussion and argument. Community dance is the dance of re-education structure through institutional approach to provide benefits to everyone regarding the issue of unequal opportunity of education in the society where the ‘voluntary management’ of educational opportunity or self-directed leaning ability is emphasized.

영화「자유부인」에 표현된 춤의 사회적 인식에 관한 고찰 - 1950년대 서울을 중심으로 -

변혁,정의숙 한국무용예술학회 2009 무용예술학연구 Vol.28 No.-

This study aims to acknowledge the social aspect that dance retains by analyzing a dance featured in Madame Freedom, a Korean film made in 1956 which brought about great controversy in Korean society in the 1950s. As this study examines the role of dance in the movie by adopting the method of drama analysis, it also looks at the dance’s image and how they influence in dance discourse. At the time when the movie was made, Korea experienced the flood of liberalization which to some extent affected the conservative Korean society to be changed. However, women were still expected to be “a wise mother and good wife” under Confucian ideology which restricted and limited women’s role in the society. By analyzing the plot of the movie, it was found that the Confucian idea on women’s role was reflected in the movie as well. The movie only focused on the main female character Oh Sun Young being corrupted by dancing, damaging the original role and image of dance. Also, it described that the female character had been morally corrupted through dance, instead of found her self- reliance by dancing. When it comes to analyzing visual and auditory elements, the changes in clothing and spaces in the movie illustrated the changing society and people’s thought. Also, various filming techniques made us see a professional dancer’s movement in the movie from males’ viewpoint. In conclusion, the movie seemed to describe dance as a mean to corrupt the female character. However, having a closer look at the movie enabled to see the true mean of the dance for the female character, realizing self-reliance and attaining true identity. In carrying out this study, it is expected that dance and film, two different genre in art form, are integrated, and bring us with various cross-genre products actively, which will finally contribute to promoting cultural diversity.

춤 아카이브 이론의 실천으로서 춤 전시: 뉴욕현대미술관의 < Judson Dance Theater: The Work Is Never Done >과 서울시립미술관의 <안은미래>를 중심으로

최윤영 ( Choi Yunyoung ) 무용역사기록학회 2020 무용역사기록학 Vol.59 No.-

본 연구는 공연의 특성을 반영한 새로운 춤 아카이브 이론의 실천으로서 춤 전시가 알맞은 방법임을 밝히는데 목적이 있다. 이를 위해 본 연구는 춤 아카이브에도 적용되는 공연예술 아카이브의 이론적 논의들을 살펴보고, 전시 < 저드슨 댄스 씨어터: 작업은 계속 된다(Judson Dance Theater: The Work Is Never Done) >(2018년 09월 16일 ~ 2019년 02월 03일, 뉴욕현대미술관)과 전시 < 안은미래 (Known Future) >(2019년 06월 26일 ~ 2019년 09월 29일, 서울시립미술관)가 이러한 논의들을 반영하고 있음에 주목하였다. 두 전시는 기록들이 지시하는 과거의 구체적 시간에 얽매이지 않고, 하나의 서사 구축을 지양하며, 아카이브를 현재화하는 방법으로 각각 과거와 현재의 지향점을 갖는 아카이브와 춤을 공존하게 한다. 또한 공연을 해왔던 안무가와 무용수들의 몸, 그들의 경험과 기억을 중요하게 다루면서, 춤 아카이브의 유·무형 형태를 모두 인정한다. 마지막으로 관람객들의 움직임과 행위가 전시 완성에 중요한 역할을 하게 함으로써 공연의 요소인 관객의 중요함을 반영함과 동시에, 관람객에게는 현장에서 발생한 행위와 경험을 다시 불러일으키는 방식의 전달을 꾀한다. 이처럼 시간적으로 현재를 지향하고, 아카이브의 유·무형 형태를 모두 인정하며, 행위와 경험이라는 공연의 본질을 다시 불러일으키는 장(場)으로서의 두 전시는 공연의 본질을 반영한 새로운 아카이브 이론의 실천 형태로서 춤 전시가 알맞은 방법이 될 수 있음을 보여준다. 새로운 춤 아카이브 이론이 실천으로 진행되는 시점에서, 두 전시의 사례는 춤 아카이브의 실천 논의를 확장하는 좋은 계기이다. 그리고 공연보다 시간적·공간적 제약이 적어, 보다 많은 관람객들에게 보다 다양한 경험을 하게하는 춤 전시의 사례는 춤을 다음 세대로 전달하는 효과적인 실천 방법으로서 춤 전시를 긍정하게 한다. 춤 전시를 통해 춤 아카이브가 관람객들과 직접 만나고, ‘또 다른 경험’을 일으키는 가치로 확장될 가능성을 보이는 것은 우리가 전시 형태를 보다 적극적으로 받아들여야 할 이유라 하겠다. This study aims to examine dance exhibitions as a way of putting the dance archival theory into practice. For this, I explore performance theories which are relevant to a dance archive and look into two dance exhibitions, Judson Dance Theater: The Work Is Never Done by MoMA and Known Future by SeMA, which reflect the new performance archival theories. These exhibitions have three features. First, the present is one of vital matters in the exhibition. Second, tangible and intangible archive are acceptable. Third, visitor’s action is a part of exhibition. These features show a dance exhibition can be a way of putting the dance archival theory into practice. In addition, these two exhibitions show that a dance exhibition is an effective way to hand down a valuable dance to next generation, because less time and space constraints than a performance can make more people have diverse experience about dance. I suggest that a dance exhibition is a good way of putting dance archival theory into practice.

댄스 서바이벌 오디션 프로그램 「댄싱9」의 문화계발효과에 대한 탐색적 연구

신찬은(Shin, Chan-Eun),김재범(Kim, Jai-Beom) 한국문화산업학회 2016 문화산업연구 Vol.16 No.1

본 논문은 문화계발효과이론(Cultivation theory)을 바탕으로 국내에서 최초로 제작된 무용 서바이벌 오디션 프로그램 「댄싱9」이 시청자들의 무용인식에 미치는 영향을 알아보기 위한 탐색적 연구를 진행하였다. 문화계발효과이론에 따르면 대중매체를 통하여 전달된 이미지와 메시지는 실제 세계에 대한 일관된 개념과 인식을 개발하여 평균적인 세계증후군(Mean world syndrome)을 유발한다. 본 연구는 그동안 대중들의 무용인식에 유의한 영향을 미칠만한 TV무용프로그램이 전무했던 국내에서 2013년 새롭게 방영을 시작한「댄싱9」이 강력한 문화적 무기로서 문화계발효과를 야기할 것이라는 점에 주목하였다. 본 논문에서는 「댄싱9」의 문화계발효과를 탐색하기 위하여 동시대 무용 문헌고찰과 「댄싱9」프로그램 메시지체계분석을 실시하였다. 그리고 문헌고찰과 메시지체계분석 결과를 바탕으로 동시대의 무용과 「댄싱9」속의 무용을 비교분석 하였다. 분석 결과,「댄싱9」은 1회부터 12회까지의 모든 미션 속에서 무용에 대한 획일적인 이미지와 메시지를 전달하는 것으로 나타났다. 그러나 문헌 고찰과 메시지체계분석을 통해 「댄싱9」에서 전달하는 무용에 대한 이미지와 메시지는 프로그램 제작진에 의해 의도적으로 선별, 제거, 강조된 것이므로 실제 무용계 현장에 존재하는 동시대 무용과는 본질적으로 큰 차이가 있음을 확인할 수 있었다. 이러한 연구결과는 「댄싱9」이 전달하는 무용에 대한 획일적 이미지와 메시지에 더 자주, 장기간 노출된 중시청자(Heavy Viewers)일수록 무용계 현장에 존재하는 모든 동시대의 무용이「댄싱9」과 같을 것이라고 기대하는 평균적인 세계증후군을 경험하게 될 가능성이 크다는 것을 의미한다. 따라서 본 연구는「댄싱9」의 중시청자가 경시청자(Light Viewers)에 비하여 편향된 무용 인식을 형성하게 될 가능성이 있음을 보여준다. Based on George Gerbner’s (1915-2005) Cultivation Theory, this exploratory study deals with the effects of Korea’s first dance survival audition program「Dancing 9」on the viewers’ perception on dancing. In the Cultivation Theory, the images andmessages delivered throughmassmedia develop consistent ideas and perceptions on the actual world, causing so-termed Mean world syndrome. Therefore, it was assumed in this study that the airing of 「Dancing 9」in Korea, where there has been no TV dancing programs that would have significant influence on the public’s perception on dancing, would influence the viewers’ perception on dancing as a strong cultural weapon. This study examined the characteristics of contemporary dance in practice through literature review. And by analyzing the consistent images and messages on dancing that appear in 「Dancing 9」through the contents analysis, this study proved that the contemporary dancing in the real world and the dance described in a symbolic world in TV don’t always coincidewith each other. According to the results of this study, 「Dancing 9」continuously delivers consistent images and messages that dancing is always filled with different techniques, expressions, and abundant things to watch, by consistently presenting missions to dancers on combining different genres of dance, inducing storytelling of thework, and having to use popularmusic, and that anyone can easily understand and enjoy the subject and content of the work. However, according to the results of literature review and content analysis in this study, the dances that appear in the TV is a description of cross-sectional image that is different from actual dance. Therefore, the heavy viewers, who were exposed longer and more frequently to the consistent images and messages on dancing through 「Dancing 9」, tend to depend more on the images and messages that the program delivers when perceiving real dance. Heavy viewers are thus more likely to form biased perception and idea on dancing than light viewers. 본 논문은 문화계발효과이론(Cultivation theory)을 바탕으로 국내에서 최초로 제작된 무용 서바이벌 오디션 프로그램 「댄싱9」이 시청자들의 무용인식에 미치는 영향을 알아보기 위한 탐색적 연구를 진행하였다. 문화계발효과이론에 따르면 대중매체를 통하여 전달된 이미지와 메시지는 실제 세계에 대한 일관된 개념과 인식을 개발하여 평균적인 세계증후군(Mean world syndrome)을 유발한다. 본 연구는 그동안 대중들의 무용인식에 유의한 영향을 미칠만한 TV무용프로그램이 전무했던 국내에서 2013년 새롭게 방영을 시작한「댄싱9」이 강력한 문화적 무기로서 문화계발효과를 야기할 것이라는 점에 주목하였다. 본 논문에서는 「댄싱9」의 문화계발효과를 탐색하기 위하여 동시대 무용 문헌고찰과 「댄싱9」프로그램 메시지체계분석을 실시하였다. 그리고 문헌고찰과 메시지체계분석 결과를 바탕으로 동시대의 무용과 「댄싱9」속의 무용을 비교분석 하였다. 분석 결과,「댄싱9」은 1회부터 12회까지의 모든 미션 속에서 무용에 대한 획일적인 이미지와 메시지를 전달하는 것으로 나타났다. 그러나 문헌 고찰과 메시지체계분석을 통해 「댄싱9」에서 전달하는 무용에 대한 이미지와 메시지는 프로그램 제작진에 의해 의도적으로 선별, 제거, 강조된 것이므로 실제 무용계 현장에 존재하는 동시대 무용과는 본질적으로 큰 차이가 있음을 확인할 수 있었다. 이러한 연구결과는 「댄싱9」이 전달하는 무용에 대한 획일적 이미지와 메시지에 더 자주, 장기간 노출된 중시청자(Heavy Viewers)일수록 무용계 현장에 존재하는 모든 동시대의 무용이「댄싱9」과 같을 것이라고 기대하는 평균적인 세계증후군을 경험하게 될 가능성이 크다는 것을 의미한다. 따라서 본 연구는「댄싱9」의 중시청자가 경시청자(Light Viewers)에 비하여 편향된 무용 인식을 형성하게 될 가능성이 있음을 보여준다. Based on George Gerbner’s (1915-2005) Cultivation Theory, this exploratory study deals with the effects of Korea’s first dance survival audition program「Dancing 9」on the viewers’ perception on dancing. In the Cultivation Theory, the images andmessages delivered throughmassmedia develop consistent ideas and perceptions on the actual world, causing so-termed Mean world syndrome. Therefore, it was assumed in this study that the airing of 「Dancing 9」in Korea, where there has been no TV dancing programs that would have significant influence on the public’s perception on dancing, would influence the viewers’ perception on dancing as a strong cultural weapon. This study examined the characteristics of contemporary dance in practice through literature review. And by analyzing the consistent images and messages on dancing that appear in 「Dancing 9」through the contents analysis, this study proved that the contemporary dancing in the real world and the dance described in a symbolic world in TV don’t always coincidewith each other. According to the results of this study, 「Dancing 9」continuously delivers consistent images and messages that dancing is always filled with different techniques, expressions, and abundant things to watch, by consistently presenting missions to dancers on combining different genres of dance, inducing storytelling of thework, and having to use popularmusic, and that anyone can easily understand and enjoy the subject and content of the work. However, according to the results of literature review and content analysis in this study, the dances that appear in the TV is a description of cross-sectional image that is different from actual dance. Therefore, the heavy viewers, who were exposed longer and more frequently to the consistent images and messages on dancing through 「Dancing 9」, tend to depend more on the images and messages that the program delivers when perceiving real dance. Heavy viewers are thus more likely to form biased perception and idea on dancing than light viewers.

무용관객 개발을 위한 감성마케팅 전략에 관한 연구 -무용축제를 중심으로-

정지윤 ( Ji Yoon Jung ) 대한무용학회 2010 대한무용학회논문집 Vol.65 No.-

The purpose of this study is to explore ways to apply emotional marketing in dance marketing, in order to overcome the limitation of conventional marketing and to switch potential audiences to real audiences in dance. The conventional marketing is only for audiences who are interest in dance, without pursuing profits in dance art. Therefore, this study suggests emotional marketing strategies after researching and analyzing the current condition of dance marketing. This emotional marketing is divided into 3 parts, which are sensitive marketing, cultural marketing, and impressive marketing. Emotional marketing is actively applied in dance festivals, and people use experience marketing in outdoor performances by drawing friendly reaction toward dance performance. Other marketing strategies expect emotional marketing to use posters which are not tried in dance contests, so it is urgent to develop new marketing strategies for ordinary people who will be new audience in dance world, in order to overcome the limitation of performance only for dance majors. Emotional marketing shares an area with art in stimulating people`s emotion. It could display its real worth when it is combined with dance performance. Also, it is necessary to develop a long-term strategy which could enhance more relations with dance art. This does not mean promoting temporary effect, which just includes the elements of the emotional marketing. Rather, this should be related with experience marketing such as dance education. This could influence positively on the development of the arts expressing people`s inner side as well as dance performance.

다문화시대의 무용과제와 발전방향

황인주 한양대학교 우리춤연구소 2019 우리춤과 과학기술 Vol.15 No.4

It is important in a multicultural society to create a social consensus through mutual understandings of various cultures and pursue progressive changes. Then, in the dance educational field, many studies have been done with respect to dance curriculum and program development in a multicultural society, but efforts to relate multiculturalsim to dance understanding and expression have been relatively short. Then, this study purposes to analyze problems in dance understanding and expression, faced in the multicultural topography of the twenty-first century, and discuss development directions to overcome those problems. Although it has been consistently pointed out both the practical as well as theoretical limitations hindering out understanding of the Other, that does not mean that we are to abandon all hope and do nothing. It is still crucial to acquire and accumulate background information and apply it appropriately. That is, even though dance critics can never be full-fledged anthropologists or ethnologists, it is still required to continuously make efforts to get relevant information. In addition, to deliver aesthetic meanings of world dance successfully and create a new aesthetic horizon based on essential elements of world dance, it needs for world dance artists to review their dances critically. Their identification and judgement on core dance elements in their dances may be used to pull the creative development in world dance.

댄스, 부채춤, USIS 영화: 문화냉전과 1950년대 USIS의 문화공보

김려실 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.49

This paper examines Americanization of Korean culture after the Korean war and the several cases of USIS Korea’s information affairs focusing dance to figure out various aspects of the cultural cold war in the realm of art,comparatively has not long considered. After the war, ballroom dance was spread widely in Korean society, tied in with American democracy and modernism under the US cultural hegemony. Hollywood movies and USIS films represented dance as not only American life style, but the symbol of liberty, equality, and progress, and thus, it worked as the signifier of modernity in postwar Korea. Also the attitude to persue modernity through dance was diffused in concert with Korean government’s policy to legalize ballroom dance. On the other hand, Korean traditional dance was considered important as regards USIS Korea’s cultural information affairs,reoriented localization strategies at that time. USIS Korea paid attention to Korean dancer, Kim Paik Bong, once north Korean refugees, supported her dance company, and made films on her dance performance to promote her artistic activity to the world. Including Fan Dance, these films introducing Kim Paik Bong’s Korean Dance aimed to show that U.S. fully understood Korean art and culture and tried hard to protect and reconstruct them. Her dance was one of important cultural indexes to indicate the successful reconstruction of postwar Korea, yet it was also a reflection of the cold war orientalism like in the case of Art Mission to Southeast Asia, the anti communist cultural event of Free Asia. 이 논문에서는 상대적으로 연구가 일천한 예술 영역에서의 문화냉전의양상을 검토하기 위해 무용(dance)을 대상으로 전후의 미국화와 USIS의문화공보의 사례를 살펴보았다. 전후 한국에서 댄스는 미국의 문화적 헤게모니 아래 미국식 민주주의 및 모더니즘과 결부되어 전파되었다. 할리우드영화와 USIS 영화는 댄스를 미국적 생활양식으로서 뿐만 아니라 자유, 평등, 진보의 상징으로 표상했고 한국사회에서 댄스는 곧 근대성의 기표로 자리 잡게 되었다. 댄스를 통해 근대성을 추구하려는 태도는 댄스를양성화하려는 한국정부의 정책과 맞물려 확산되었다. 한편 한국무용은USIS의 문화공보 현지화 전략상 중요했다. 월남한 한국무용가 김백봉에주목한 USIS는 그의 무용연구소를 지원하고 영화제작을 통해 그의 예술활동을 전 세계에 홍보했다. <부채춤>을 비롯하여 김백봉의 한국무용을소개한 이들 영화는 미국이 한국의 예술과 문화를 충분히 이해하고 있으며 그것의 수호와 재건을 위해 노력을 아끼지 않는다는 것을 보여주려 했다. 즉, 그의 무용은 전후 한국의 성공적 재건을 보여주는 문화적 지표였던 동시에 동남아 예술사절단 파견이라는 자유아시아의 반공 문화 이벤트에서 볼 수 있듯 냉전 오리엔탈리즘의 반영이기도 했다.

대학생들의 댄스스포츠에 대한 인식 조사 연구

원주연,김윤태 대전대학교 기초과학연구소 2001 自然科學 Vol.12 No.1

이 연구는 대학생들이 댄스스포츠에 대해 어떤 인식을 가지고 있는지와 참여의 정도를 설문조사 함으로서 대학 내의 댄스스포츠에 대한 재인식과 생활체육으로서의 댄스스포츠의 그 위치를 확립할 수 있는 기초자료로 활용하는데 목적을 두고 있다. 이에 본 연구는 대전시 및 충남에 소재하는 4년제 6개 대학교 2331명을 대상으로 설문지를 배부하여 조사한 결과, 다음과 같은 결론을 얻었다. 1. 댄스스포츠에 대한 개념 인식 첫째, 댄스스포츠의 개념은 남 · 여학생 모두 잘 인식하고 있으며, 학년간에는 3학년이 가장 높게 인식하고 있었다. 둘째, 사교댄스, 볼륨댄스 및 댄스스포츠와 관계는 구분할 수 없다가 더 높게 인식하고 있으며, 학년간에는 1학년이 가장 높게 인식하고 있었다. 셋째, 댄스스포츠와 체육과의 관계는 서로 같다가 가장 높게 인식하고 있으며, 학년간에는 2학년이 가장 높게 인식하고 있었다. 2. 댄스스포츠의 관심과 경험에 대한 현황 첫째, 댄스스포츠를 접해본 경험은 여학생이 남학생보다 더 높았고, 학년간에는 3학년이 가장 높게 나타났다. 둘째, 댄스스포츠를 알게된 것은 영상매체가 가장 높았고, 학년간에는 1학년이 가장 높게 나타났다. 셋째, 댄스스포츠를 추어본 경험은 여학생이 남학생보다 더 높았고, 학년간에는 3학년이 가장 높게 나타났다. 넷째, 댄스스포츠를 추어본 장소는 학교수업에서가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 다섯째, 경기용 댄스스포츠의 인식은 모른다가 더 높았고, 학년간에는 4학년이 가장 높게 나타났다. 3. 댄스스포츠에 대한 가치 인식 첫째, 댄스스포츠의 운동학적 가치는 약간 있다가 가장 높았고, 학년간에는 4학년이 가장 높게 나타났다. 둘째, 댄스스포츠의 정치 ? 사회적 가치는 약간 있다가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 셋째, 댄스스포츠의 오락적 가치는 약간 있다가 가장 높았고, 학년간에는 4학년이 가장 높게 나타났다. 넷째, 댄스스포츠의 교육적 가치는 약간 있다가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 다섯째, 댄스스포츠의 예술적 가치는 약간 있다가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 여섯째, 댄스스포츠를 전문적으로의 인식은 평범하게 생각한다가 가장 높았고, 학년간에는 4학년이 가장 높게 나타났다. 4. 댄스스포츠의 발전 방향에 대한 인식 현황 첫째, 생활체육으로서의 댄스스포츠는 매우 적합하다가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 둘째, 댄스스포츠의 사회·문화적 가치는 약간 기여한다가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 셋째, 댄스스포츠의 필요성은 약간 필요하다가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. 넷째, 댄스스포츠의 교육적 효과는 매우 많다가 가장 높았고, 학년간에는 4학년이 가장 높게 나타났다. 다섯째, 댄스스포츠의 발전 가능성은 올바른 방향으로 활발해졌다 더 높았고, 학년간에는 4학년이 가장 높게 나타났다. 여섯째, 댄스스포츠를 배우고 싶은 장소는 학교교양강좌에서가 가장 높았고, 학년간에는 3학년이 가장 높게 나타났다. The purpose of this study was to provide basic materials available to establish the recognition of dance sport on campus and the status of dance sport as sport for all. For this purpose, this study used th questionnaire research so as to investigate how college students were conscious of dance sport and the level of their participation in dance sport. In conducting the questionnaire research, questionnaires were distributed to 2331 college students attending six 4-year universities located in Daejeon and South Chungcheong Province. Based on the study results, the following conclusion was drawn: 1. Consciousness of the Concept of Dance Sport First, both male and female college students were well conscious of the concept of dance sport. And juniors were most highly conscious of it in terms of academic year. Second, college students were more highly conscious of the indistinguishable relationship between social dance, ballroom dance and dance sport. And freshmen were most highly conscious of the distinctive relationship between such types of dance. Third, college students were most highly conscious that dance sport was identical with physical education in terms of their relationship. And sophomores were most highly conscious of their relationship. 2. The Present Situation of Interests and Experiences in Dance Sport First, female college students had more experiences in dance sport than male college students, and juniors had the most experiences in dance sport. Second, college students came to know dance sport through the picture media, and freshmen got information on dance sport through the picture media most. Third, female college students had more experiences in performing dance sport than male college students. And junior had the most experiences in it. Fourth, college students performed dance sport at the place for school hours as the place for performing dance sport. And juniors performed dance sport at the place for school hours most. Fifth, college students were more unconscious of competitive dance sport than conscious of it. And seniors showed the highest level of unconsciousness of competitive dance sport. 3. The Value of Dance Sport First, college students were most highly conscious that dance sport had its value :as spo- isAence. Seniors showed the highest level of consciousness on it. Second, college students were most highly conscious that dance sport had its politico-social value. Juniors showed the highest level of consciousness on it. Third, college students were most highly conscious that dance sport had its recreational value. Seniors showed the highest level of consciousness on it. Fourth, college students were most highly conscious that dance sport had its educational value. Juniors showed the highest level of consciousness on it. Fifth, college students were most highly conscious that dance sport had its artistic value. Juniors showed the highest level of consciousness on it. Sixth, college students were most highly conscious that dance sport was ordinary in terns of professional job. Seniors showed the highest level of consciousness on it. 4. The Present Situation of the Developmental Direction of Dance Sport First, college students were most highly conscious that dance sport was very appropriate as sport for all. And juniors showed the highest level of consciousness on it. Second, college students were most highly conscious that dance sport made some contribution to its socio-cultural value. And juniors showed the highest level of consciousness on it. Third, college students were most highly conscious that dance sport was slightly needed. And juniors showed the highest level of consciousness on it. Fourth, college students were most highly conscious that dance sport had the very educational effect.. And seniors showed the highest level of consciousness on it. Fifth, college students were most highly conscious that the development of dance sport would go in a right direction.. And seniors showed the highest level of consciousness on it. Sixth, college students were most highly conscious that the place for learning dance sport would be the place for liberal arts. And juniors showed the highest level of consciousness on it.

무용인식이 무용적 가치와 무용수업 가치에 미치는 영향

김은영 ( Eun Young Kim ) 大韓舞踊學會 2009 대한무용학회논문집 Vol.59 No.-

In the present study, high schools, not include dance class, in Seoul and Kyounggido are choose and sampling using the systematic stratified cluster random sampling to estimate effect of dancing value and dancing class on high school student`s dancing cognition in 2009. total responses are 491 without 9 of 500 that insincere response. Total 24 questions as verified list of questions that consisting of 2 background variable, 7 questions with dance cognition as independentvariable which used by Hwang(2002) and 6 one with dance value and 9 one with value of dance class as dependentvariable which used by Ko(2000) are reconstructed to match the present study. First of all, a response that has not reliability among collected responses of list of questions by method of data acquisition are excepted. Reliable data are inputted into a computer and performed computation process using the SPSS/PC+ ver.13.0. Statistics method is estimated using the technical statistics analysis, Chi-square test, correlation and multiple regression analysis. Objective of this study is estimating effect of dancing value and dancing class on dancing cognition. we can obtain these results as a result of analysis of concrete research problems. First, cognition about dance with the distinction of sex has statistical different result because of idea with dance and interest or no interest about dance. And cognition about dance by experience of dance class has statistical different result because of interest or no interest about dance. Second, cognition about dance with the distinction of sex has statistical different result because of necessity of dance class. And cognition about dance by experience of dance class has statistical different result because of necessity of dance class. Third, dance value and value of dance class with the distinction of sex appears that female has one more than male. Fourth, interest of cognition about dance has statistical static correlation with necessity, value of dance and value of dance class. Necessity has statistical different result with value of dance and value of dance class. And value of dance had statistical different result with value of dance class. Fifth, all elements influence value of dance and value of dance class by interest of cognition about dance and necessity. Sixth, it is shown that value of dance influence value of dance class. In the present study, we can see that these results agrees some of past research which these elements are influence general cognition about dance from the above results. But we can see that high school students who have not has dance class think dance are obstruction with an entrance examination in this study. Dance class and solution to help social education has to be made in high school because a dance is not dealt as personal eduation and entrance examination.