Issues concerning dance education: a K-MOOC case study

김현정,한석진 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.1

. 본 연구는 문헌연구, 인터넷 자료 검색 및 분석, 인터뷰, 통계데이터에 기초해K-MOOC 무용교육의 특징과 전망을 탐구하였다. 먼저 KOCW에서의 무용 관련교과목 현황과 특징을 살펴보고, 이와 차별화된 K-MOOC 무용 교과목 사례를 분석하였다. 기존의 무용 교과목은 강의실 또는 무용실에서 교수자와 학습자가 면 대면으로 직접 만나 수업이 진행되었다. 반면 K-MOOC 무용 교과목 사례는 전통적인 무용교육 방식에 도전하면서 온라인상으로 무용교육이 가능함을 보여주었다. 다양한 연령, 계층, 성별의 일반 사람들이 시간과 공간, 수강인원의 제한을 받지 않고 언제 어디에서든지 대학 무용교육에 쉽게 접근할 수 있는 기회를 제공하였다. K-MOOC는 무용교육을 위한 대중적 플랫폼을 제공하여 대학교육과 지식의 민주화, 평생교육의 가능성, 재교육을 실천하였지만, 높은 비율의 중도탈락, 학습에 대한 책임감 부족, 학점 인정이 불가하다는 점은 한계로 작용하고 있었다. 본 연구는K-MOOC 무용교육의 가치를 향상시키기 위해 다음의 방법을 제안하였다. 교수자와 학습자간의 상호작용과 소통의 통로를 다양화하고, 학습자들간의 네트워킹과교류를 활성화 하는 것이다. 또한 일방적인 강연과 과제, 시험에서 벗어나 다양한교수-학습법을 제공하고, 학습자들의 자기주도적 학습 역량과 참여도를 증진시키는 것이다. 그리고 플립드 러닝과 블렌디드 러닝을 활용하여 학점 인정 교과목으로전환하는 것이다.

대학교육에 있어 무용미학의 방법론

한혜리 韓國舞踊敎育學會 1995 韓國舞踊敎育學會誌 Vol.5 No.-

학교 교육과정에 예술을 포함시키자는 논의는 계속되고 있다. 현재 교육제도에 대한 주제는 '문화'를 발전시켜서 소수 정예집단으로부터 전 인류가 문화적 민주주의를 달성시키도록 하는 쪽으로 전향되고 있다. 영구의 Gulbenkian을 비롯한 많은 연구기관에서는 다민족, 다문화의 사회구성원을 가지고 있는 나라가 교육을 통해 각 민족의 고유한 문화와 전통을 존중하면서 한 사회 공동체로 조화롭게 발전할 수 있는 방법 모색에 많은 노력을 기울이고 있다. 그 노력의 하나로 그들은 예술교육에 기대를 걸고 그것을 교육의 실천영역 안에서 방법화하는 연구를 계속하고 있다. 다행히 우리나라는 단일 민족으로서 사회구성원 전체가 같은 전통을 가지고 하나의 문화를 형성해 왔다. 다 종족, 다문화 국가가 가진 교육에 있어서의 문제점이 우리에게는 없다고 할 수 있겠으나 이 연구는 두가지 관점에서 우리나라 대학에서 무용미학 교육방법론 설정의 필요성을 인식하였다. 첫째, 서양 지식을 중심으로 한 교육내용과 방법론으로 우리는 어느 정도 주체적인 입장에서 무용의 정당한 가치와 의미를 찾아낼 수 있으며, 학계의 필요성분으로 무용이 존재하게 만들 수 있는 가 하는 문제에 대한 무용 미학의 입장. 둘째, 지금까지도 과학을 우월시 하려는 역사적인 배경하에 있고, 더욱이 우리는 경제성장과 선진국을 향한 국가적 염원으로 '어떻게 살것인가'의 문제가 '어떤 질의 삶을 살 것인가?'보다 훨씬 더 중요한 교육환경에서 예술과 철학의 중심적 요수인 인간이 행복해지기 위한 교육에 대한 무용미학의 교육적 대응. 이 연구에서는 '무용미학에 관한 것' 즉 인간 경험의 한 부분으로서 무용에 대한 철학적 사색에 대해 논술하려는 것이 아니다. 교육의 실천영역안의 '무용미학에 대하여'가 논제의 주제이다. 무용미학을 가르치는 교육적 목적이 무엇이며 또 그러한 교육적 성과를 얻기 위해서는 무엇을 어떻게 가르칠 것인가?의 방법론을 다루고 무용미학의 교육적 요청과 무용의 이해를 위한 교과로서의 가치를 인식하는데 이 연구의 목적이 있다. Theory put forth by aesthetics for dance such as-the basic judgement of aesthetics, the interrelational analysis of various elements of dance, the dancer, the choreography, and the interdisciplinary crossover between art, music and literature-is not in effect theory apart from the actual eveation of dance, but a scientific analysis of the history of dance that has so far existed. It is simultaneously an analysis of the changing philosophical thought or the cultural inclusion or exclusion. Aesthetics does not enforce the results of its study upon fellow scholars or creators, theory derived from aesthetic study is in no way a compelling standard by which to measure artistic works. In contrast, the results of studying past art is purported to render to systematized ans written record of previous artistic experiences in order to further the development of creations to come. Such a task is most definately an act of scholarly effort aiming to include dance, which is without concepts or language defining its boundaries and which is characteristically a unique event, into the system of study. According to the scholars and schools, methodology tends to differ, however, the following three points seem to outline the basic principles of dance aesthetics: ·As the basic problematic proposed by dance aesthetics is to discover the uniqueness of dance as opposed to the relationship it maintains with other art forms, understanding the interrelation among foreign dances is necessary in order to fully disclose the uniqueness of dance in one's own country. The history of aesthetic thought in dance or the changing perspective and ideology form a basis for this study. ·By constrasting dance to the other various art forms, the mi queness of dance must be established. it is important for dance to have its own standing in the university curriculum. ·Aesthetics for dance as a liberal arts curse should differ methodology according to the target audience. Methodology should differ among those seeking leisure or quality in their life styles and those aiming to acquire professional knowledge of the special effects of dance.

논문 5 : 청각장애 청소년을 위한 무용교육의 이점

서현주 한국무용교육학회 2015 韓國舞踊敎育學會誌 Vol.26 No.1

본 연구의 목적은 청각장애 청소년들을 위한 무용교육의 이점이 무엇인지 알아보고자 한다. 이를 통해 무용교육이 청각장애 청소년들에게 교육적, 신체적, 정서적 발달에 미치는 영향과 가르칠 때 고려해야 할 점들, 그리고 무용/움직임 요법으로써의 가치는 무엇인지 살펴보았다. 그 결과 교육적, 신체적, 정서적 발달에 미치는 영향으로는 첫째, 리듬 훈련은 청각장애 청소년들에게 춤을 어떻게 추는지 배우게 할 뿐만 아니라 신체적, 정신적, 정서적으로 안정감을 주고 창의력 향상에 큰 영향을 준다. 둘째, 창작 무용은 신체지각과 움직임 동작을 향상시키며 언어적 어휘력 발달에 도움을 준다. 또한 이러한 창의적인 움직임을 통해 다른 사람과의 의사소통에 대한 두려움이 줄어들고 사회성과 표현력이 발달된다. 셋째, 무용의 다른 교육적 가치는 무용을 통해 서로 다른 문화나 역사 및 다양한 장르의 무용을 배울 수 있다는 점이다. 이러한 무용교육은 청각장애 청소년에게 다양한 경험의 기회를 줄 뿐만 아니라 다른 사람을 이해하는데 많은 영향을 준다. 넷째, 무용은 신체적 정신적으로 연결되어 있는 만큼 청각장애 청소년들에게 신체적 움직임과 리듬감에 대한 두려움이 감소되고 자아의식과 자아 수용의 발달 등 치료적 효과가 있다. 청각장애 청소년들은 시각적으로 배우기 때문에 가르칠 때 항상 그들의 상태를 살펴봐야하며 의사소통이 자유롭기 위해서는 수화는 필수적이다. 시각적 또는 촉각적인 신호를 사용할 때 집중적으로 신호를 줄 수 있도록 시선 교환이 중요하며, 리듬을 시각적으로 배우기 때문에 박자를 맞출 때 박수나 드럼 또는 조명을 같이 사용하면 효과적이다. 또한 악기의 진동을 느끼거나 만져 봄으로써 리듬감을 향상시킬 수 있다. 청각장애인을 위한 무용교육의 역사는 일반 무용 교육에 비해 짧으며 청각장애인은 들을 수 없기 때문에 춤을 추거나 즐길 수 없다는 오해에서 비롯되었다. 무용교육이 이들에게 주는 많은 이점과 잠재력을 고려할 때 앞으로 청각장애인들을 위한 무용교육에 더 많은 관심이 필요하다.

Dance Wellness Curricular Model for Higher Education Dance

Cardinal, Marita, K. 韓國舞踊敎育學會 1996 韓國舞踊敎育學會誌 Vol.6 No.-

무용 웰니스는 무용의 한 영역으로서 여러 학자들이 설명한 바, 무용가의 건강과 복지(well-being) 전반에 걸친 일반적 목적으로서 폭넓은 요소들을 포함하고 있다. 즉, 이목적은 질적이고 양적인 수행가능성의 향상율과 관련되어 있다. 고등 무용교육 프로그램에서, 무용 웰니스는 3가지 기본적 기능을 지니고 있다. 즉, 1) 무용을 전공하는 학생과 무용 전문가에 대한 교육 2) 무용가들의 건강관리과 의료서비스 그리고 3) 무용 웰니스에 대한 학문적 연구이다. 무용 웰니스는 일정한 한계가 없지만 대체로 무용의학, 무용과학, 인체학, 그리고 웰니스 분야로 이루어 진다. 즉 건강과 복지를 위하여 균형되고, 통합된 학제(學際)적 접근을 시도한다. 그것은 개인적 참여자 각자의 요구에 부응하는 무용의 영역중 독특한 분야이다. 무용 웰니스 모형의 합리적 기반은 무용의학, 무용의학, 그리고 인체학에서 현대의 전문적 학문에 기초되어져 있다. 박사학위 논문의 일부로서 관련된 분야에서 10명의 숙련자와 88명의 무용 프로그램 행정가들로부터 피드백을 받았다. 무용 웰니스 교육 프로그램의 두가지 주요 차원은 교육과정 요소와 수행 전략들이다. 10대 교육과정 요소는 1) 해부학, 2) 생리학, 3) 운동학, 4) 생체역학, 5) 신체요법, 6) 무용상해, 7) 영양학, 8) 개인건강, 9) 심리학, 기리고 10) 운동학습, 운동발달, 운동제어이다. 각 요소들은 전문 무용교사, 무용수, 그리고 안무가들을 위하여 각각의 영역에 대한 지식의 중요성에 관하여 설명되고 기술되어 졌다. 무용분야/프로그램들 속에서 웰니스 프로그램의 다양성 뿐만 아니라 10대 요소를 충족시키기 위한 방법들을 기술하게 될 것이다. 고등무용교육에서 무용 웰니스 프로그램을 위한 최소한의 지침들을 무용 웰니스 교육과정 모형에 근거하여 소개하였다. 무용분야/프로그램들은 무용가들의 건강과 복지에 기여할 것이고 무용가들의 수행 잠재력을 향상시킬 것이다. Dance wellness is described by the researcher as an area of dance which is comprised of a wide array of components which share as a common goal the overall health and well-being of the dancer, as related to increased qualitative and qualitative performance potential. In higher education dance programs, dance wellness has three primary functions: (a) ,the education of dance students and dance professionals. (b) the service and care of dancers' health needs, and (c) research in areas related to dance wellness. Dance wellness draws form, but is not limited to, the disciplines of dance medicine, dance science, somatics, and wellness; seeks a balanced, integrative, and interdisciplinary approach to health and well-being; is specific to the individual participant; and is unique to the field of dance. The rationale supporting the dance wellness model is based on contemporary professional literature in dance medicine, science, and somatics; a review by a panel of 10 experts in related fields; and feedback received from 88 dance program administrators as part of a doctoral dissertation. The two major dimensions of dance wellness education programs are curricular components and implementation strategies. The mten curricular components are: (a) anatomy; (b) physiology; (c) kinesiology; (d) biomechanics; (e) body therapies; (f) dance injuries; (g) nutrition; (h) personal health; (i) psychology; and (j) motor learning, motor development, and motor control. The components will be defined and described with respect to the importance of knowledge in each area for the professional dance teacher, dancer, and choreographer. Methods for implementing the 10 components as well as a variety of supplementary wellness programs (e.g., health screenings/assessments), into dance departments/programs will also be described. Based on the dance wellness curricular model presented, specific, minimum guidelines for dance wellness programs in higher education dance departments/programs will be advanced in an effort to optimize dancers' health and well-being and enhance dancers' performance potential.

중국조선족무도교육연구실황고찰(中國朝鮮族舞蹈敎育硏究實況考察)

백상춘 한국무용교육학회 2011 韓國舞踊敎育學會誌 Vol.22 No.1

중국 조선족무용은 80년대에 들어서부터 개혁개방의 물결을 타고 다원화된 문화권속에서 무용예술가들의 사유공간은 입체적 자세를 갖추기 시작하였고 새로운 관념, 새로운 의식, 새로운 가치의식의 형성은 무용의 독자적 지위와 무용의 본질적 속성에 대하여 새로운 이해를 가져오게 되었다. 하여 본 연구자는 중국에서 유일한 조선족 예술잡지인 "예술세계" 등 8개의 예술잡지를 제한하여 총182편의 무용연구 자료를 중심으로 조선족무용교육연구 성과에 대한 실태를 심층적으로 고찰, 분석하여 앞으로의 조선족무용교육 연구에 연구기초자료를 제공하여 중국 조선족무용이론연구가 완벽하게 이루어지지 않은 실정에서 중국조선족무용교육연구가 한층 계통적이고 과학적이며 자율적인 발전을 위한다는 입각에서 교육적으로 큰 의미가 있을 것으로 사료된다. 총 182편의 연구과제중 교육연구는 총 182편 논문 중 22편(12%)으로 밖에 연구가 이루어지지 않은 실정이지만 발표된 연구문은 적어도 그 분야의 학문적 패러다임을 파악할 수 있기에 이를 하나의 교육현상의 문제점으로 볼 수 있으며 그 원인에 대하여 심층적인 분석이 이루어질 의의가 있다. 하여 구체적인 논리적 방법을 사용하여 교육연구의 기본기능으로 무용전공교수연구, 아동무용교육연구, 외국무용교육연구와 학과건설연구로 분류하여 분석 하였다. 80년대 이후 중국 조선족무용교육성과물에 대한 분석을 살펴보면 무용훈련과정과 교수수업에서의 기본적인 문제점에 대하여 주로 연구되었지만 이유와 가치의 중요성에 대한 논의는 빈약한 면모가 나타났고 무용교육의 본질연구에 진입하지 못하였기에 그에 대한 방법과 대책을 논하였다.

1970년대 한국무용교육에 대한 예술사회학적 접근

김운미 韓國舞踊敎育學會 2001 韓國舞踊敎育學會誌 Vol.12 No.2

This study was conducted under the understanding that the sociology of art investigation into Korean dance education of the 1970s would be significant for both the educational community and the dance community. An attempt was made to summarize the study results as follows: The first problem was concerning the change of Korean society and the trends of art. As a result, it was found that the 1970s were the period of time that the Revitalizing Reforms(Yushin) system adopted strong nationalism as the moving force for national integration by implementing the cultural policy of the promotion of national culture through the mobilization of the mass media and are meaningful in that it fostered the climate of attempting the zest proper to Korea. The second problem was concerning the trends of education. The phenomenon of overheated education due to rapid economic growth in the 1970s resulted in the loss of the original function of education, which in turn led education to fall into the means for manpower supply necessary for economic development. The third problem was concerning the relationship between the formation of social consciousness, and mass cultures and arts. All the cultural and artistic fields tended to join in the painstaking spiritual life of the masses though different in form which became the opportunity for the masses-centered cultures and arts to emrge on a full scale. The fourth problem was concerning the role played by the dance-art community and the dance-education community. the sharing of the role played by the dance-art community and the dance-education circles became unclear in the process that the center of the dance circles moved from the group of dancers to the group of dance professors. For this reason, the conflict between them became deepened, which became the impedimental element to the overall development of the dance circles. And though dance criticism was active, there was the deepened conflict between dancers and critics surrounding dance criticism in proportion to it. The fifth problem was concerning the reformation of the curriculum and the condition for dance education. Though dance education in the levels of schools might appear to be specialized to an extent that creative dance was listed on the contents of instruction due to the reformation the curriculum, its object was limited to girl students at middle and high schools. Even the number of school hours assigned do dance education was appropriated for physical education with the introduction of the physical fitness promotion system in the entrance examination for college, which resulted in the considerable diminution of dance education. It has brought about the dubious result in terms of its effect to simply set the subject of creative dance alone in the situation that the number of dance teachers specializing in dance, the most condition for dance education, are absolutely lacking. The sixth problem is concerning the limitation of all kinds of dance events and dance education in sociology-of-art terms. Even though all sort of dance events might actively be held, there were a very few dance performance activities that joined in the difficult life of the masses in the 1970s except several dance works in the dance field, unlike other artistic fields. Owing to various limitations of the dance circles, the increasing opening of the dance department did not lead to the development of dance education, and further even the dance contest that should have become the arena for testing the effect of dance education fell into the vehicle for admission into the school of higher grades.

미국 무용교육 제도를 통해 본 한국 무용교육의 선진화 방안

이지혜 ( Lee Ji-hye ) 한국무용교육학회 2016 韓國舞踊敎育學會誌 Vol.27 No.4

This study investigated strategies for advancement of dance education for development of dance education of Korea through dance education system of America. Dance needs to be included in arts subject of the regular curriculum, and this study suggested establishment of autonomous selection system of arts subject(dance, music, art, drama and etc), unification of dance education through the development of national education standards, pursuit of high-quality dance education using internet, subdivision of learning standards by age and level, necessity of active financial support from the government, and acceptance through the improvement of necessity recognition and value perception of dance education. Dance education in Korea has been revised several times despite its shorter history than America, and dance education as a cultural artistic education is in precarious position every year due to budget or institutional problem. At a time when dance graduates acquire certificate of physical education teacher every year and culture and arts teachers are being produced, the reality of dance education and the field are not making big changes, and accordingly, the education system or research and effort for national standards as contents, learning method, and evaluation are inadequate. At a time when the school dance education across the nation needs to take one step further through the issuance of dance teaching certificates, literature investigation on the dance education system of America and studies on the course of the national dance education helped to have hope for the future of dance education. Therefore, this study expects for the base of dance education to be expanded in the future through quantitative·qualitative development of research for dance education and challenge for systematic complement, and is looking forward to the day when the entire nation can receive dance education as dance education becomes activated.

예술통합 무용교육 방법론 연구

한혜리 韓國舞踊敎育學會 2011 韓國舞踊敎育學會誌 Vol.22 No.2

The purpose of this study with the theme of methodology of dance education through integrating the arts is to suggest basic frame of dance education through integrating the arts. This study was proceeded, with the theoretical background of ground for integration of the arts, in this way that goal of dance education through integrating the arts and composition principle of education content were explored and then, methodology of dance education through integrating the arts was suggested. Dance education through integrating the arts would be education method where goal of education is set and its content is planned considering condition of objects - goal is based on values achieved when one experiences dance without disassembling forms of the arts. Achievements in the 3 categories such as education, culture, and the arts can be set as composition principle of education content in the dance education through integrating the arts. It would be infinite to develop content of dance education through integrating the arts based on mutual supplementation, openness in thinking, and continuity of education in these 3 categories. The study results of methodology of dance education through integrating the arts can be summarized as follows. First, Education through integrating the arts is possible because every art has common factors. The common factors suggested in this study are sense recognition, symbolization, and communication. Second, Composition of dance education through integrating the arts should meet 3 principles such as mutual supplementation, openness in thinking, and continuity of education in the categories of education, culture, and the arts. Third, Education methods in the dance education through integrating the arts can be developed based on six response objects such as substance, material, sound, data, linking theme, and relationship between the arts.

고등무용교육 재구조화를 위한 반성적 과제와 전략

신은경 ( Eun Kyung Shin ) 한국무용교육학회 2013 韓國舞踊敎育學會誌 Vol.24 No.1

This studies is a dance education to refer to the K-12 school and private studio age group, as well as higer education teacher preparation programs for these populations. This distinction is important to make at the outset to understand the expansion and relevance of dance education curricula for professional degree programs at the undergraduate and graduate levels in this work. Four primary challenges are investigated in this article: curricular equity, expansive dance education programs, graduate study opportunities, governance leadership. Research in Dance Education project recommends. The results of the studies on: The political negotiations and complex interplay of developing professional degree programs while simultaneously attempting to nurture and sustain liberal arts and dance education programs. Within this curricular negotiation, an “either/or” approach to decision making often surfaces in which dance unit priorities are determined in fragmented ways. Colleges and universities provide opportunities for undergraduate and graduate students to study and be engaged in basic research and its designs. Dance education researchers work cooperatively to establish clearer definitions concerning research methodologies, techniques, and essential research characteristics. “Think tank” sessions should be conducted in which research terms and methodologies are discussed and clarified. Dance specialists research the processes of creating, choreographing, performing, and analyzing dance so educators, artists, and administrators in dance, arts, research, and education communities better understand different components of these processes. Dance educators from diverse environments at the community level consider combining resources to pursue research endeavors. Research be conducted on policy and funding in Korea. Education issues, categorized more broadly as pedagogy and the examines learning patterns and preferences of the diverse populations of children in Korean schools. Finally, The every dance education organization urges the governance to heed this call for the good of future generations involved in all aspects of teaching and learning. Further, it is urged that both public and private funds support research in these domains for the good of the governance, and our children.

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.