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2013, Vol.44, No.5

  • 1.

    Discovery of potential dance intelligence from the perspective of dance education: A critique of the application of Multiple Intelligence Theory (MIT)

    Ji Young Kim | Park ji won | Hyunjung Park | 2013, 44(5) | pp.1~37 | number of Cited : 3
    Abstract PDF
    This study was focused on finding potential dance intelligence which should be addressed in a dance with critical viewpoint of the application of Gardner’'s multiple intelligence theory in dance education, and then also covered the discrimination of dance instructor which could be enhanced by education. Gardner developed the study of systematic approach and creativity based on the concept of intelligence and even insisted multiple intelligence theory which would be that different abilities could be manifested in the combination of particular intelligence such as language, logic, mathematics, space, physical activity, music, human friendship, self-knowledge, nature friendship, existence, etc. For this reason,intelligence would be biological and psychological potential to process information which could be useful to produce a valuable product or solve problem in the context of specific culture. After a variety of lessons and evaluation program under the concept and feature of multiple intelligence theory, the application of multiple intelligence theory could be different for instructor to establish learning strategies depending on condition or situation. Then various significant attempts have been made such as Project Zero, Project Spectrum, Key School, Art Propel, Project Hanyang and so on. Intelligence in dance is composed of socialization process, action, result, and reaction through its development and relationship including intelligence of physical activity. From a physical point of view, dance education could be considered for having the greatest potential to improve the intelligence of physical activity. In addition, a work of dance education focus on only natural body somatotype, dance performance, or limit the opportunity to participate in activity. Therefore, it is necessary to take a flexible attitude for dance intelligence. This study covered attributes and type of dance intelligence which are essential feature of abilities in dance performance. The characteristics of attributes and type of dance intelligence were as follows. First, dance intelligence could be explained as self-comprehension by understanding meaning of physical and movement. Second, dance intelligence should be required to have excellent ability which could connect the meaning of movement and performance. In this sense, the key point of dance intelligence should be the ability which could combine inner intention including self-comprehension, knowledge, and emotion with performance. Third,dance intelligence could be considered as a continuum of potential because a variety of movement could be possible in performance. This study gives appropriate prominence to develop the dance intelligence continuously with perceiving the type and attributes of dance intelligence as experiential, individual, and progressive. Accordingly, the importance of dance education should be emphasized from perspective of developing dance intelligence. As has been mentioned, it should be essential to discuss how to apply multiple intelligence theory appropriately in dance education. Therefore, this study suggest the four aspects of discussion. First, discrimination which could find potential in context of self-comprehension. Second, approach to holistic education which could advance a well-rounded education. Third, metacognitive teaching-leaning which would be self-directed learning. Fourth, dance education which would be aiming at course of instruction. The perspective of dance education which accepted multiple intelligence theory should contribute to enhance self-comprehension and find potential. It should be necessary to utilize dance intelligence for inventing the contents of dance education to improve creativity and ability to think rather than a standardized indicator to discover genius or only few talented person. As a result, potential dance intelligence is not only movement but also inherent abilities including feeling and thinking motion. The application of multiple intelligence could promote studying more than simply learning dance skill and give opportunities for high quality education. To discover and develop latent desire,will, ability could be proceeded from indicator’'s discrimination or insight rather than teaching attitude. Therefore, dance education should develop abilities to possess toward dance such as desire of movement, emotion of expression, aesthetic sense, cultural values and experience which dance covered in life, and etc rather than simply only dance skill or ability to express.
  • 2.

    A Study on the perspective of Dance Education presenting in Rousseau’ Naturalistic Thought

    Youngha Park | 2013, 44(5) | pp.39~62 | number of Cited : 0
    Abstract PDF
    Human’ life and nature have deep relation. As changing era, Human has changed their attitude and thought about nature. These changing paradigm on nature led change of paradigm in Education. Education approaches to avoid artificial aspects in education and to enhance relationship between nature and human’ life as emphasizing human nature. This educational tendency affects to entire area of education. Therefore, This study seeks common educational perspectives between dance education theories and Rousseau’ Naturalistic thought. Finally, This study found three dance educational perspectives presenting in Rousseau’ Naturalistic thought; Identity-theory perspective, developmentalstage perspective, intuition-experience perspective. This study contribute to tract and index the stream and effects of Naturalistic education in dance education area.
  • 3.

    Examination of Mujin and Mutoe in the Introduction and the Conclusion of “Dangakjeongjae” of Early Joseon

    SunSookSon | 2013, 44(5) | pp.63~83 | number of Cited : 1
    Abstract PDF
    This study examines proceedings of mujin and mutoe performed after signals of jukganja in the introduction and the conclusion of “angakjeongjae”of early Joseon through a comprehensive study of the 14 kinds of it in Akhakguebeom. First, it is examined if there is any movement of mujin or mutoe in the introduction and the conclusion. Usually “angakjeongjae”dancers perform mujin or mutoe after jukganja calls signals. However, that differs according to various kinds of jeonjae: in some they do both mujin and mutoe; in others not mutoe but mujin; or neither. Second, individual dancers’movements are compared when they perform mujin or mutoe in the introduction and the conclusion. In most cases, all the dancers do that together whereas in several kinds of jeongjae only certain dancers do that. Mujin and mutoe in the introduction are done by either all the dancers or certain dancers but those in the conclusion usually by all the dancers. Third, proceedings of mujin and mutoe in the introduction and the conclusion are focused. Different kinds of jeongjae have different proceedings of them: mujin of the whole dancers is followed by mutoe; mujin is followed by changsa(唱詞) and then by mutoe; mujin is followed by hoeseon and then by choyeol; or mujin is followed by mutoe in a different formation. In conclusion, for most versions of jeonjae mujin and mutoe in the introduction and the conclusion are conducted departing from the original position and returning back to it, in the same formation. Mujin always precedes mutoe. In some versions, however, mutoe is performed in order to stand in another formation, not to return to the original position. Besides, all kinds of jeongjae record unanimously that mutoe in the conclusion is performed by all the dancers. Accordingly, it is found that mujin and mutoe are usually performed after signals of jukganja in the 14 versions of “angakjeongjae.”Also, this proceedings suggest that mujin and mutoe in the introduction and the conclusion are kind of a customary performance to signal the beginning and the end of the dance.
  • 4.

    Visualized Research into the Apocalyptic Work of Angelin Preljocaj - 「And Then, One Thousand Years of Peace」

    ji-won Lee | 2013, 44(5) | pp.85~111 | number of Cited : 2
    Abstract PDF
    Angelin Preljocaj is a French choreographer who conveys powerful messages along with strong movements. There is no doubt that he is a ‘hilosophical choreographer’that was born into this era and who began speaking of this era. In 2010, he brought to the audience a work titled 「And Then, One thousand Years of Peace」. This performance having premiered with the cooperation of the Bolshoi Ballet and the Angelin Preljocaj Ballent in Russia came to Korea as it was chosen as the 2012 MODAFE finale. Angelin Preljocaj once interviewed that the dancer’ movements came from 『Revelations』of the bible. This research analyzed and interpreted the work under the theme of ‘pocalypse’ one of the words used most frequently today. The meaning of Apocalypse is the end or destruction of the human race and this work encompasses his viewpoint or this era’ take on the world. This is a story inspired by the Apocalypse in Revelations. The work embodies a dualistic view including light and darkness, machinery and humanism, and destruction and revival. Thus, it induces us to consider the contrasting image of good and evil. This research, in brief, deals with the work within the following categories: “he prophesized implication of Revelation through symbolic images”“men of a catastrophe and dystopic images” “estoration of humanism upon questions of human existence.”As this performance presents not only destruction but positive vision, Angelin’ utopic construct and a new exit for the current world is identified. Nonetheless, the truth the author wishes to convey is self-reflection of the present. Plans and predictions of the future is shown as a series of violence, namely, intemperance, waste of resources, and war. Therefore, Apocalypse implying both the present and prediction of a abstract event in the future is a warning that we must bear. It cautions us that the future holds a dilemma and human beings that survive due to restoration of humanism and love will live in a regressed city placed in nature. His direct and truthful movement and philosophical thinking dissolved in the dancer’ movements represents our era and can be understood as a proposition of the way we should live.
  • 5.

    The Relationships Between Participation Satisfaction, Psychological Need, and School Life Adjustment of High School Students in Dance

    Lee, Joon mo | 2013, 44(5) | pp.113~136 | number of Cited : 9
    Abstract PDF
    The purpose of this study is to analyze the relationship between participation satisfaction, psychological need and school life adjustment of high school students participating in dance. The subject was a population of 300 high school students during the period of time March 1, 2013 to April 24. The data on 240 students were used for actual analyses and data were processed with SPSS 18.0 for Window. The results of the analysis were as follows: First, participation satisfaction had positive effects on psychological need. Second, psychological need had positive effects on school life adjustment. Third, participation satisfaction had positive effects on school life adjustment.
  • 6.

    Dance World of Hemsley Winfield Who Influenced the Development of Black Concert Dance

    Cho, EunSook | 2013, 44(5) | pp.137~157 | number of Cited : 0
    Abstract PDF
    The New Negro Movement was a political issue in the USA during the early 1900s, but it was also developed in close relation with arts. During this movement,black people claimed independence and autonomy, and the term, ‘arlem Renaissance’was coined to label their connection with the culture of the 1920s. The Harlem Renaissance enabled a production of creative works in the fields of various arts such as culture, fine arts and dance. A new modernism style was formed among black people’ arts. Conscientious black dancers began to recognize a new style of concert dance that was being formed in the USA at the time, which was dramatic dances with a developed storyline by professional dancers. They became interested in artistic dances rather than the recreational dance that was the mainstream dance among blacks, during those days. Among them was Harlem Renaissance artist Hemsley Winfield(1907-1936), who presented black concert dance on a stage for the first time. Winfield, who had various performing arts careers such as a stage actor,director and dancer, gained a reputation for his role of Salome in Oscar Wilde’『Salome』in 1929. Then he committed in becoming a professional dancer and concentrated on concert dance. In 1931, he established the first black concert dance group, “ew Negro Art Theater Dance Group,”in New York and performed various modern dance works. They were composed of various themes such as German expressionistic style dance, negro spirituals, African rituals, Denishawn style dance and etc. These themes could also be found in the works of white modern dancers who did activities at that time. Winfield’ “ew Negro Art Theater Dance Group”did continuous performances receiving good response from audiences. And in 1933, he appeared in the Metropolitan Opera’ premier of Gruenberg’ opera 『The Emperor Jones』, becoming the first African American to have performed there. Winfield tried to break from the accepted recreational and comical black dance of that time and to escape from rational prejudice through concert dance. Furthermore, he tried to show various modern dance works by combining different modern dances. The early modern dancers of those days pursued free dances by escaping from stereotyped ballet styles and tried to show social problems in their works. Winfield also tried to overcome prejudice against blacks and showed works where he could perform together with white modern dancers. In addition, he tried to visualize a new style of black arts that became pursued during the by Harlem Renaissance through dances. Lastly, he tried to show his own type of dance by encompassing all of the mainstream modern dance and leftish dances that were flourishing at the time. Although it is certain that Winfield’ achievement in dance has become a cornerstone in the history of black modern dance, it hasn’ been recognized until now. The reasons seem to be because of his short life of 29 years, and because regular research of black dance was actively made after the 1960s. Therefore, the researcher is confident that the study of Winfield’ dance contributions would be a valuable research through which we can reconfirm his importance in the history of early modern black dance. The purpose of this study is to examine the spirit of the black arts of that era and the progress of the times through Winfield’ dance as the beginning of black modern dance and to research his arts world through his achievement, which has become the cornerstone of the development of today’ black dances. Because the images of Winfield’ works were destroyed, the researcher intends to develop research through photos and literature. In order to achieve the purpose of this study, the researcher will first inquire into the historical background of African Americans in the 1920s and the Harlem Renaissance, and then discuss Winfield’ life and his artistic characteristics.
  • 7.

    Creative Dance Program Development Based on the Imagination for Elementary School 5th-6th Graders

    Sang-cheul Choe | 2013, 44(5) | pp.159~179 | number of Cited : 8
    Abstract PDF
    Under the social situation of widespread sense of crisis for public education, recently, new government emphasizes innovation to the ‘appy education’as a part to overcome such crisis of education essentially. Such innovation should start from educational practice of encouraging children’ childishness so that they would be able to look at the world in a new viewpoint and exhibit their ‘nnocent curiosity’ and ‘ree and abundant imagination’fully. The imaginative education itself is an ideal educational practice that can protect children’ lost ‘hildishness’and ‘nnocent 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 ‘3 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 ‘he 13 tools for learning imaginationleading to creation’The researcher thinks it is worthwhile to consider application of these 13thinking 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 ‘n imaginationbased 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 ‘n 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.