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pISSN : 1226-900X / eISSN : 2713-9468

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2018, Vol.70, No.3

  • 1.

    A Study on Reviewing Dance Pedagogy in Creative Dance for Non-professional Student

    Jieying Zhu | 2018, 70(3) | pp.1~9 | number of Cited : 0
    Abstract PDF
    This study illuminates how to teach creative dance for non-professional students. According to the findings from this literature and research, an evolution in teaching methods is needed to create a balance between traditional teaching methods and flexible teaching methods in the dance classroom. An instructor must also be able to utilize these teachings realistically in class. Becoming a supportive teacher by using positive language in a creative class is one of the most important ways that a great number of students can be inspired and motivated. A teacher’s flexibility in utilizing various teaching methods is also an important quality that the learning environment in a creative dance class should begin to include. This study indicates that teaching creative dance for non-professional students must go beyond traditional and unitary teaching methods and instead an instructor should learn to be geared toward utilizing a number of teaching strategies at each appropriate situation for each student.
  • 2.

    Allow Your Creativity to Dance -Dance/Movement Therapy-

    Kyung Soon, Ko | 2018, 70(3) | pp.11~23 | number of Cited : 0
    Abstract PDF
    To understand what creativity is and why creativity is needed in Dance/Movement Therapy, this literature-review based study explores how creativity is related to human life, with a focus on the cultural influences of Confucianism, as well as on education in Korea. In Korea, creativity has been underestimated due to a lack of understanding of the full nature of its quality, and has been seen as the exclusive purview of artists. A review of the literature has uncovered many benefits of the creative arts process in both psychotherapy and clinical supervision. As the creative arts process can offer a solution for personal or societal difficulties, cultural sensitivity, openness, and self-reflection around creativity are crucial qualities for educators, therapists, and supervisors. These qualities are therefore essential for providing excellent educational or clinical services, and professionals in these fields should continuously seek to dance with this space of creativity
  • 3.

    A Preliminary Research of the Role of Using Voice as a Bodily Instrument in Creative Arts Psychotherapy

    So Hyejin | 2018, 70(3) | pp.25~37 | number of Cited : 0
    Abstract PDF
    The purpose of this article was to explore the use of voice as an instrument in music therapy. In general, voice plays a significant role in integrating mind and body, connecting feelings and thoughts, and bridging self and others. Clients who experienced emotional struggles found that breathing, toning, and singing were beneficial tools that relaxed tension in the body, lessened anxiety, and allowed them to express their repressed feelings. In particular, the creative aspects inherent in vocal improvisation helped clients to deepen and strengthen positive changes within the therapeutic relationship. Vocal Holding Techniques and Free Associative Singing played important roles for clients not only in their in-depth explorations of personal issues but also in bringing about reconstructive experiences in body awareness, psychological well-being, and the recovery of trusting relationships.
  • 4.

    The Inquiry of Dance Program as a Cultural Education -Focusing on Korean Culture-

    Yun, Jieun | 2018, 70(3) | pp.39~51 | number of Cited : 0
    Abstract PDF
    Since emergence of the fourth industrial revolution, automation has become a common. Also making relationship among people has become an important issue because people do not have many opportunities to communicate each others. Hence, this study aims to recognize the current situation and to approach to this society with dance programs as an independent cultural education tool. The program will lead dance education as cultural education for understanding diversities. The main issue of the current study is the dance program called “Getting to know another culture: South Korea”. The content includes geography, alphabet, food, games, and rhythm. All the lessons progress through the presentation of the theme, warm-up, elaboration, dance-making, sharing/evaluation, and relaxation/cool-down. The program pursues development of skill, attitude and knowledge to communicate with each others based on the understanding of different cultures. The value of this program is that it can be changed according to the nations and cultures within the same frame. In the future, various programs applying different cultures to this frame are expected. Moreover, the actual experimental researches on the program are anticipated.
  • 5.

    The Placelessness of Korean Folk Dance -Focusing on Public Stadiums in the 1970s’ Korea-

    Jihyun Yoon | 2018, 70(3) | pp.53~70 | number of Cited : 0
    Abstract PDF
    This paper deals public stadiums in the 1970s’ Korea as a case showing the placelessness of folk dances. The essence of folk arts is that the members of a local community participate in all together and that there is no distinction between those who perform and watch. The active involvement of viewers could evoke collective spirituality. However Korean Folk Arts Festival held in public stadiums, structurally distorted folk arts including folk dances. It was held in a national contest format. In limited time and space of the competitions, Korean Folk Arts Festival tended to endorse folk arts that were 'made' as prize-winning repertoires. In this regard, the public stadiums can be understood as places where the folk dances were inherently lost. Therefore public stadiums become the space representing the loss of place identity, that is, the case of placelessness of Korean folk dances.
  • 6.

    Interfaces between Physical and Virtual Bodies in Merce Cunningham’s BIPED

    Seok Jin Han | 2018, 70(3) | pp.71~96 | number of Cited : 0
    Abstract PDF
    The paper explored philosophical and aesthetic implications of a virtual body in the context of a live dance performance Merce Cunningham’s BIPED(1999), based on social and cultural discourses on a virtual body as well as theories of two philosophers Maurice Merleau-Ponty and Gilles Deleuze. As a result, it argued that in the performance, the digital and human performers coexist as independent multiplicities of a dancing subject, being allied to each other without a sense of hierarchy. The juxtaposition of two types of dancers as well as the oscillations of embodied movements between the virtual and physical realm allow audiences to locate on the threshold of the physical and the virtual.