This study aims to explore the method of aesthetic understanding about dancing body images and expressions of movement shown in dances based on the concept of Goodman and Deleuze.
Goodman thinks art as a symbolic system such as language and classifies symbols of art centering on the concept of reference. On the other hand, Deleuze redefines the meaning of signs and conducts a creative reading of Proust's novel to reveal, that signs of art express the essence through senses. Applying their discussions to dancing body, this researcher classifies symbols of dance into a system similar to language according to the concepts of denotation and representation, exemplification and expression, and suggest that dancing bodies can be viewed as sings of art expressing senses.
This study is significant in that it reconsiders the cognition of traditional aesthetics and illuminates the value of knowledge implied by the artistic expressions of dance.
This paper aimed to critically investigate phenomenological researches on dance in South Korea in order to clarify what 'a phenomenological approach' means in dance writing. To do that, it undertook literature reviews of key concepts of phenomenology as well as of pioneering academic works in dance phenomenology. Then, this paper conducted a meta-analysis of previous phenomenological studies on dance in South Korea, which helped to identify obscure and unclear understandings of phenomenological approaches in dance research. As a result, we discovered that the term 'a phenomenological approach' was confusedly used as either the application of phenomenology theories to dance experience or a phenomenological description of it as a qualitative research method in general. Also, in terms of a phenomenological research method, dance researchers tended to categorize others' first-person accounts of their dance experience and explore their meanings, which conflicted with phenomenological notions of Epoché and Phenomenological Reduction.
This study aims to explore the socio-cultural significance of autobiographical writings, based on dancers’ experiences and memories, by analyzing the autobiographies of two ballerinas, Gelsey Kirkland and Suzanne Farrell. From the contemporary perspective of autobiography, this study explains the formation of a metaphoric autobiographical self, the meaning of writing strategy, and the diverse socio-cultural issues raised by the authors, rather than regarding autobiography as merely a historical source or the art of literature. In conclusion, Kirkland adopts the confessional mode of writing as a vehicle for therapeutic work, and Farrell uses the retrospective mode of writing that fully reflects her authority and glorious time in the ballet world.
This paper studies major considerations in applying positive psychology to dance education, focusing on the differential traits of the professional group and the public group. Goal, motivation and psychological trait of the two groups are fundamentally different. Thus, each factor of PERMA needs to be applied differentially. For professional dance education, engagement(E), meaning(M) and attainment(A) need to be emphasized as its purpose is to train professional artists who prioritize artistic beauty over daily happiness. Meanwhile, positive emotion(P) and relationship(R) are fit for public dance education as its goal is to promote daily happiness. Thus, the design of positive dance education needs to reflect these differences. The professional dance education program should focus on challenging goals for dancers in order to promote engagement and attainment while the public dance education program is for amicable environment and relationship.
The purpose of the study was to explore possible coordination among admission, curriculum and career education for sustainment of college dance department in Korea. It seems that the sustainment and development of dance department has been difficult without coherent coordination of admission, curricular activity and career education. Therefore, the results of the study are as follows: firstly, the admission and curriculum need to be changed to require students’ creativity. Ways to evaluate creative works and improvisation need to be adopted in the admission process. Secondly, each course aiming to develop diverse competencies should be well managed to develop actual competencies for dance students. Thirdly, openness in curriculum management to empower dance students to have the capability of convergence of diverse fields needs to be applied to the dance curriculum. Open networking to embrace diverse mentors who are able to show a variety of career paths also needs to be adopted.
This study aims to explain the art world of Pina Bausch(1940~2009), based on the key concept of Jacques Rancière(1940~), ‘Aesthetic Regime of Arts’. Pina Bausch is well known for liberating classical ballet from its conventional, hierarchical formats and establishing her own unique genre that is called ‘Tanztheater’. Her experimental spirit and constant exploration for something new is in line with ‘Aesthetic Regime of Arts’. The system intends to make art escape from all general rules that art resorts to, such as hierarchies of themes, genres and arts. This study subdivides Rancière’s relations in art and discusses elements of arts-genre, choreographic process, stage direction and music composition, movement and role-to see possibilities of re-establishing new relations in Pina Bausch’s works.
Imagination education as the most needed whole-person education in the light of physical, emotional, and social aspects should be the place of activity where all students can get the opportunity for free experience and express themselves creatively for the sake of natural body growth and growth of individuality.
Egan proposed a cognitive tool for a successful learning through a new approach to teaching-learning process using imagination. The 5-phased understanding of mind in imagination education is achieved through the acquisition of a cognitive tool, and an application of such cognitive tool is very important as it can increase thinking skills and broaden one’s understanding. Accordingly, this study suggests that it might be desirable to get dance students to acquire actual creative dance experience through Egan’s imagination education in order to realize creative dance education.
The effects of the stage device shown in the existing ballet works are somewhat insufficient to visually express fantasy and heavenly images which are the characteristics of ballet. Thus, this study aims to prove the effectiveness of the visual effects through an experiment applying 3D projection mapping to a ballet rotational movement, ‘Fouette Rond de Jambe En Tournant’. With this experiment, a survey was conducted to testify the visual changes, and the results are as follows. First, the expression of movement is enriched by the visual effect. The stage image is changed by spinning of a space, and it makes the turns look dynamic. Second, the meaning of visual space expands. By outputting the digital images in various forms, the space becomes visible and substantial. Third, it provides visual satisfaction. This study proves that the visual effects would bring an opportunity to open a new perspective on the ballet performance.