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.-

고등무용교육의 개혁방안

金和淑 韓國舞踊敎育學會 1997 韓國舞踊敎育學會誌 Vol.7 No.-

The purpose of this study is to realize some crises in the higher dance education and to present reform plans for it. For its desirable reformation, recognition of scholars engaged in the higher dance education must be preceded above all things. Because reformation is the educators' prior task. to solve problems more effectively, I think some educational conditions should be necessarily recommendations as follows: 1) Department of dance education needs more concrete classification and names. - department of Dance focusing on practical technique. - department of Choreography focusing on the process of creation and actual performance. - department of Dance Theories - department of Dance Education - department of Social Dance for ordinary people 2) Present curricula require re-evaluation and daring amendment 3) Studies of dance need reinforcement to introduce new academic fields of dance such as dance science, dance medical, somatics and dance wellness etc. 4) For the normalization of dance education, proper dance programs in accordance with the students' ages from the kindergarten to the high school must be established in the national standard(e.g. K-12 program in the U.S.A.) 5) Programs for connecting dance with health and various kinds of dance such as ballrooms for connecting dance with health and various kinds of dance such as ballroom dance, jazz dance, tap dance, aerobic dance and so on need to be included in the present curricula. 6) To diffuse special dance programs in the Liberal arts education, educators should be their best to make the university and persons concerned understand them. 7) Establishment of qualification system in urgent. - certificate of qualification for child dance education - certificate of qualification for elementary dance education - certificate of qualification for middle school dance education ("dance major" should be marked on the present certificates of physical educators) - certificate of qualification for social dance instruction - certificate of qualification for professional dance instruction (such as given to the instructors and managers of dance institutes) 8) The graduate school curricula must be classified into those for master's degree of dance and doctorate of dance science focused on the dance theories, and those for M.D. of dance art focused on practical dance techniques. And the curricula of the graduate school of dance education should include educational programs for cultivating dance educators. 9) Resolute improvement of the existing entrance examination is demanded. Through the establishment of certain organizations like "technical examination committee"(tentative name), the examination system must be analyzed in depth and jointly studied. 10) Dance library and dance information center should be employed, and relevant research institute should be established inside the university. 11) Materials for audio-visual education need development - spread of dance repertoire - making videos for dance education 12) By establishing some organizations like "Dance Education Development Committee"(tentative name) composed of educational public service employees, dance teachers and university professors of dance, a momentum to set up proper educational operations and strategies should be provided.

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.

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).

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.

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.

대장암에서 Glucose Transporter Gene의 발현

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

무용(학)과 졸업생 진로문제의 방향 모색을 위한 무용(학)과의 체제분석

김화숙 韓國舞踊敎育學會 1993 韓國舞踊敎育學會誌 Vol.3 No.-

I attempted to analyse the present conditions and the state of employment of Dept. of Theory in Dance and the Dance Education system in order to search for the direction of a course in job of graduates of Dept. of Theory in Dance(or Dept. of Performing Art in Dance). (1) The nature of Dept. of Theory in Dance is definitely different from that of college belonged to. In the title of Dept.'s name, the Dept. of Theory in Dance belongs to 15 colleges. And also according to analysis of their curricula, we never find the different properties between Dept. of Theory in Dance and Dept. of Performing Art in Dance. (2) The technique classes and the theoretical classes of Dept. of Theory in Dance(of Performing Art in Dance) is the ration of 90 to 10. But the existing curriculum between the technique classes and the theoretical classes is the ration 43 to 57. The theoretical education on the Dance is too much weak now. We have only 3.8 professors among 160 students each department. We must secure more professors. (3) The fields of employment are to become a member of professional ballet dancers, to enter the graduate school, to become a teacher of middle or high school, to operate the provate dance academy and to become an instructor of the Dance Academy. The number of employments in this field is definitely little, compared to the graduates of 940 a year. So the development of curriculum that broadens the activity of graduates from Dept.. of Dance is necessary. (4) The education of dance doesn't be taught the levelled classes from elementary school to high school. And the professionalization of dance teacher is weak. In order to solve the above problems, lif the suggested systematic improvement is made, the employment of the graduates of Dance. Dept. will be made very easily. (1) As the elementary school employs full-time art and physical fitness teacher(music, fine arts and physical education), so full-time dance teacher has to be employed in the system of full-time teacher. (2) The dance class which is operated as part of physical exercise in middle and high school must be independent of physical exercise, and be regular class. At the same time, boy students will have to revive dance classes. (3) The teacher's license ofr physical education given the graduates of Dept. of Theory in Dance(of Performing Art in Dance) must be changed into the teacher's license for dance education. (4) The Dept. of Dance education that disappeared in 1982 must accept in the National Teachers University, and to bring up the dancing leader, the establishment of Dept. of Dance Education must be made in the education graduate school. (5) The Dept. of Theory in Dance and Performing Art in Dance must subdivide into three kinds of Dept. of Performing Art in Dance, of Theory in Dance and Dept. of Dance Education. The aim of education must be clearified each departments. And also the curriculum proper to the object of education must be intensively devised and operated.

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.

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.