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2014, Vol.46, No.1

  • 1.

    Laban’s Psychophysical Parallelistic Body Viewed from the Reasoning of Spinoza

    Ilhwa Na | Jisun Lee | 2014, 46(1) | pp.1~17 | number of Cited : 3
    Abstract PDF
    The purpose of this study is to consider Laban’s effort theory in comparisonwith the reasoning of Spinoza, and to analyze the meanings of a psychophysicalparallelistic view in dance art, which appear in common in Laban’s theory andSpinoza’s reasoning. Laban’s effort theory has been used widely not only currently in the dancefield including choreography, education, and therapy, but also in diverse fieldsinvolving play, sports, cultural study, and communication. In the dance studiesfield, it has been composed mostly of realistic contents such as dance education,choreographer analysis, cultural anthropological study, and dance therapy. However, this study conducts a dance aesthetic consideration focusing on thepsychophysical parallelistic view shown in the ideologies of Laban and Spinoza,which have not been studied yet. Laban’s psychophysical parallelistic viewenhanced the meaning of a dancing body by focusing on internal impulse whichtriggers movements. Also, the view added scientific way of thinking to the bodyand movements, and proved that it was able to bring about change in mentalitythrough physical training.
  • 2.

    State of the Standard Curriculum of the Academic Credit Bank System for Bachelor’s Degree in Dance and the Reality of Educational Institutions

    안귀호 | 서숙희 | 2014, 46(1) | pp.19~46 | number of Cited : 8
    Abstract PDF
    The purpose of this study was to examine the standard curriculum forbachelor’s degree in art run by the academic credit bank system of the NationalInstitute for Lifelong Education and the operating state of major courses offeredby educational institutions of dance studies in an effort to determine whether therewould anything wrong with the curriculum and the operating state of educationalinstitutions. The standard curriculum of the Academic Credit Bank System was analyzedin association with the major fields of study offered by educational institutions thateducated learners to win a bachelor’s degree in art. The findings of the study wereas follows:The standard curriculum for a bachelor’s degree in art run by the AcademicCredit Bank System of the National Institute for Lifelong Education was designedto focus on pure art of dancing in compliance with the educational systems of dancestudies of four-year universities that were under the umbrella of the Ministry ofEducation. In fact, however, 71 percent of the educational institutions that offeredbachelor-degree courses of art under the academic credit bank system mainlytaught learners who majored in practical dance(jazz dance, belly dance, etc.), streetdance or broadcasting dance that belonged to the genre of the popular arts. Giventhe state of the educational institutions, it could hardly be said that substantial,efficient education was provided. There are some suggestions on how to resolve the problems with art educationof the Academic Credit Bank System of the National Institute for LifelongEducation:AbstractFirst, the Ministry of Education and the National Institute for LifelongEducation should have the right understanding of current cultural environmentscharacterized by coexistence of popular art and pure art, and they also should havean accurate understanding of each genre of dance. Second, an academic educationalsystem that connects dance with various disciplines such as history, social studiesand culture should be built, because practical dance(jazz dance, belly dance, etc.),street dance and broadcasting dance that are taught under the Academic CreditBank System should keep abreast with the shifts of popular culture. Third, every educational institution should share information and make aconcerted effort to let dance learners take useful bachelor-degree courses. Finally, the course description of the standard dance curriculum for a bachelor’sdegree should be analyzed and modified in a constructive manner.
  • 3.

    Analysis of Multi-Culture Education Contents Appearing in Elementary and Secondary Physical Education Textbooks

    Yoo Mi-Hee | 2014, 46(1) | pp.47~66 | number of Cited : 7
    Abstract PDF
    The purpose of this study is to explore the present state of multi-cultureeducation as dance education by analyzing multi-culture education contentsappearing in elementary and secondary physical education textbooks. This study analyzes content elements of multi-culture education based onBennet’s multi-culture education content system on the subject of physicaleducation textbooks for elementary grade 3 to grade 6 and integrated textbooksfor secondary grade 1. From the results of simultaneously performing quantitative and qualitativeanalyses, following are the results of this study. First, as for the elementary physical education, the contents related with multiculture dance education are found to be 160 items, and when they are examinedby the item, there are 73 items related with ‘acceptance of cultural diversity(45.6%),’and 84 items for ‘respect of humanity (52.5%).’ In terms of ‘respect of theearth,’ there is 1.9% found, and in case of ‘responsibility of world society,’ there isno related content found in expression activities. Second, 262 items in total related with multi culture dance education are foundin secondary physical education textbooks, and in looking at them by the item, 188items related with ‘cultural diversity acceptance’ occupy the highest rate of 71.7%. 73 items related with ‘respect of humanity’ secures 27.8%. The rate for‘responsibility of world society’ is found to be 0.4%, the lowest rate, and as for‘respect of the earth,’ there is no related content within expression activities. Third, multi culture dance education appearing through elementary andsecondary physical education focuses mainly on understanding of diversity witha limit of introducing and helping them understand each country’s culturalAbstractcharacteristics and types, and regards as secondary content elements the respect ofhumanity that enhances the quality of democratic people by conducting decisionmaking with which they can tune and understand mutual opinions throughpresentations of group activities and apprehension.
  • 4.

    The Characteristics of Dance Expressions in Backstage Musicals of Busby Berkeley and Fred Astaire

    Jisun Lee | 2014, 46(1) | pp.67~89 | number of Cited : 2
    Abstract PDF
    In the early 20C, Busby Burkeley and Fred Astaire newly introduced backstagemusical. This study aims not only comparing two musicals to show how backstagemusical have been studied and developed, and also to research what the earlyhistory of dance film is. For the study, it reviewed the books which explain the character of popularentertainment and film at the time when backstage musical initiated. To analysethe specific expression of dance, I choose three scene of works, Gold Diggers(1933),Footlight Parade(1933), Dames(1934), Flying Down to Rio(1933), Swing Time(1936) andRoyal Wedding(1951). The analysis is focused on style of dance, how the dancerinvolved, and techniques of camera. At result, Burkeley’s style is spectacle. He separate spectacle from narrativeusing a dancer as a tool of visual composition. On the contrary, Astaire’s style isnarrative. He interweave narrative with spectacle using a dance as a part of thenarrative structure in the film.
  • 5.

    A Study on Korean Traditional Dance Contents on YouTube in Pursuit of the Sustainable Development of the New Korean Wave

    Jung, Seo-Youn | Ahn Byung Ju | 2014, 46(1) | pp.91~115 | number of Cited : 13
    Abstract PDF
    The purpose of this study was to examine the state of Korean traditional dancecontents on YouTube, which is regarded as the driving force of the new Koreanwave led by K-pop, in an effort to determine what media strategies were used onYouTube to step up the advance of Korean traditional dance onto the global stage. 359 video clips were selected from YouTube by inputting the keyword “Koreantraditional dance.” The selected video clips were analyzed in terms of year, numberof hits, poster, content and form. The findings of the study were as follows:First, the Korean traditional dance contents were analyzed by year. As a result,there was a tendency that the number of the video clips started to be on the rise inand after 2010. But the number of the video clips posted in 2013 was lower thanthat of the previous year, which implied that YouTube wasn’t utilized a lot toaccelerate the expansion of the Korean wave led by K-pop into Korean traditionalculture. Second, the number of hits for the Korean traditional dance contents wasanalyzed, and the most common number of hits ranged from 1,000 to less than10,000. Six video clips had more than 100,000 hits. So it could be said that thenumber of hits for the Korean traditional dance contents was low. As a result ofanalyzing the video clips with 10,000 hits or more by year, the number of hitsincreased year after year, but it seemed to be a natural phenomenon that wasattributed to the lapse of time. Overall, the number of hits for the Korean traditionaldance contents was low in comparison with that for K-pop contents. Third, who posted up the Korean traditional dance contents was analyzed tosee whether there was any formal route for that. And it’s found that a privateAbstractKorean dance group which was based in Toronto, Canada, posted up the largestnumber of contents, followed by individuals who continued to post up the videoclips as a sort of donation. In other words, the Korean traditional dance contentswere released by quite a small number of individuals and private groups throughYouTube. Fourth, a content analysis was made to check the content of the Koreantraditional dance contents. As a result, the Korean traditional dance contents wereclassified into 31 categories of content and others. Among various kinds of Koreandance, Korean fan dance was most dominant in the contents, which 80 video clipsdealt with. Out of the 359 video clips, the video clips that showed Korean fan dancehad the largest number of hits as well. Thus, the posting frequency was identifiedas one of factors to affect the number of hits. Fifth, in order to grasp the form of the Korean traditional dance contents, theirformat of content, length of playback, number of participants and picture qualitywere analyzed. As a result, the greatest number(306) of the 359 video clips were inthe form of performance and presentation, and the length of playback was mostlyless than seven minutes. 78 percent of the video clips were group dance, and theirpicture quality was good. In fact, however, the high-definition K-pop contentsreleased by entertainment management companies for strategic purposes usuallyexcel video clips posted up by people in general in terms of picture quality. Giventhis fact, the picture quality of the Korean traditional dance contents could be saidto be lower.
  • 6.

    An Analysis of Cirque du Soleil’s Contents for the Expansion of Dance Choreography Contents.

    CHUNG, EUI SOOK | BYUN, DANIEL H | 2014, 46(1) | pp.117~133 | number of Cited : 2
    Abstract PDF
    This study examines several of the Cirque du Soleil repertories for itsdistinguishing characteristics such as the narratives, technology and movement. Based on this investigation, the study proposes to identify contents that could aidthe expansion of the dance genre in its choreographic contents. Cirque du Soleil’s 「Alegria」, 「Quidam」, 「Totem」 and 「Zaia」 were selected foranalysis based on its extended success, in order to discuss the possible transferablecontents from Cirque du Soleil to the dance genre. Two works of dance companies:Les Ballets C de la B’s 「Evening Prayer」 and Ultima Vez’s 「Blush」 were utilized forfurther discussion. The analysis of the Cirque du Soleil’s four works illustrates that the contentsentail captivating narratives, effective technology and movement that breaks freefrom physical limitations. These distinctive contents were clarified to parallel thosewithin the two dance works of 「Evening Prayer」 and 「Blush」. Although the extent of the movement choreography differed, the fundamentalnature of both genres’ composition was identified to be similar. Therefore, it canbe acknowledged that the genre determines the nature of movement and itschoreography to best deliver the narrative for communication with the audience.
  • 7.

    Study on the Diversity of Performing Arts through Collaboration

    Han, seung-yeon | 2014, 46(1) | pp.135~160 | number of Cited : 4
    Abstract PDF
    This study is a research on the diversity of performing arts, which intends tosuggest collaboration of various genres to tell the value of dance and the beauty offusion to the public effectively. Also it intends to comprehend the situation whereperforming arts are placed today when Korean emotion and culture are globallyacknowledged and search diverse ways to approach closely to the public. Collaboration means co-operation, which is used as the terms, e.g. cooperation,partnership, collaboration, etc. Collaboration has been used mainly infashion and enterprises, largely classed as 3 parts. This study analyzed each caseof 3 types of collaboration between artist and brand, star and brand, brand andbrand. Instances of collaboration in performing arts are the collaboration betweenfashion designer Jung, goo-ho and the National Ballet Company, the collaborationbetween Moohandojeon and sports dance, the collaboration between PoppinHyun-joon and Park, ae-ri, Mumuta, Dance performance, and the collaborationwith modern dancer regarding Baek, ji-young’s music video 「Sarang-i olkayo」. Asthe above instances, more attempts and efforts are required for performing arts toform various performing culture through collaboration and get settled to deliverinspiration and healing to the public. While having more time to enjoy leisure and culture, the public wants highclasshealing in the culture. They require genuine rest in this heartless and hardreality. In present time when quality of life is considered highly, performing culturerouses more attraction and interest in the public and its scope is more widened asa place for communication. The researcher expects that collaboration, which is asuggestion to comprehend the stream of time and promote new change of artAbstractperformance gets settled as evolutive performing art culture by bringing aboutpositive effect in performing culture.
  • 8.

    A Self-Study of for Physical Education Teacher Education on the Bongsan Talchoom Class

    HeeJung-Hong | 2014, 46(1) | pp.161~189 | number of Cited : 2
    Abstract PDF
    This study aimed at improving the quality of traditional activity class byproposing the meaningful contents and the methods of the class after the reflectionon the researcher’s teaching through the self-study. Not only the researcher’sintrospective reflection on her teaching but also the reflection on 13 prospectivephysical education teachers’ teaching became an important data for this study. The Bongsan Talchum class was conducted for seven weeks (28hours) inaccordance with the three educational methods described in the teaching andlearning guidelines for the 2009 revised physical education curriculum. The selfexaminationon the class drew the following conclusions. First, the creative activity designed on the basis of the teaching and learningof creativity and personality was a good way to encourage students’ creativethinking, team work and responsibility. Second, the Jigsaw class had a positivelearning effect for the class participation and the self-directed learning of theprospective physical education teachers. However, the leaners may run intodifficulties in picking up the accurate moves of Talchum unless the teacher givesproper feedback. Therefore, it is necessary for the teacher to provide learning tasksby level in the light of the students’ capability of performing activity. In addition,the teacher should be able to do the detailed checks on the learning course and theresult and to provide feedback to individuals during the class. Third, the maskmaking class and the class supported by cyber cafe and blog for comprehensiveteaching and learning attracted interests and involvement of non-physicaleducation teachers and offered a forum for communication with better interactionamong the learners.