This study uses auto-ethnography to review my experience of a dance course conducted online due to the COVID-19 pandemic. Through the qualitative analysis of personal recollections, course plans, online sources, course materials, self-evaluations, and student evaluations of the course, the study reached the following conclusions.
First, as an instructor who had only taught in face-to-face settings, I realized my lack of familiarity with modern technology and online culture.
Second, I found online education that involved no face-to-face contact intimidating and frustrating.
Third, to be a guiding rather than a leading instructor, I focused on adapting to the changing conditions and maintaining a two-way communication environment to avoid a one-way instruction.
This study scrutinize the dance works of Marina Abramovic (1946-) and「pilgrimage」(1998) of Hong Sin-Cha (1940-) with a focus on performertivity making a reference to Aesthetik des Performativen (2004) of Erika Fischer-Lichte (1943-). The performertivity concepts of Fischer-Lichte that could be understood through the works of Abramovic are emergence, cybernetic feedback and liminality. The concepts indicate that the audience who watch the performance become performers. The performertivity concepts of Fischer-Lichte are not found at 「pilgrimage」 of Sin-Cha Hong. It is because the performance is played at proscenium theater which is a traditional theatre. Even if the audience did not experience the performertivity in this work, the dancers participated in this performance were found to experience performance elements.
This study explores the effect of self-directed flow on dance competition participants. For this purpose, this study creates a self-directed flow program. It consists of three stages.
First, as a perception for a goal setting, dancers participating a dance competition have a goal, and then it has an effect in reaching the flow state. This study figures out that dancers in the flow achieved more with less stress, so felt more satisfied. Second, as a control stage for practice focuses on alleviating the anxiety and tension of dancers through self-directed flow program, which specifically emphasized the attention training skills. This program helps them focus on anything they are working on. Third, as a performance for evaluation, participants in the self-directed program express their satisfaction with successful performances. Furthermore, they maintain confidence without losing concentration even if they experience mistakes while performing.
This study discusses the relationship between the expectation of economic utility and artistic value in the production of dance performances, centering on the ‘Creative cradle program for dance support’ in Korea. Dance has difficulties in expecting productivity in proportion with its actual production cost and measuring its achievement. Although dance, as both a fine art and a performing art, relies on public funds, it is more often than not difficult to estimate precise outcome, which is its character and limitation.
Therefore, it is natural to get insufficient numbers and results in the annual quantitative evaluation required from an industrial perspective. Alternatives should include long-term assessment and management, the need for sustainable collateral support, and accentuation on artistic evaluation rather than quantitative one with separate recognition from industrial understanding and assessment. Rather than quantitatively evaluating dance performances and simply evaluating them with economic income, public value should be given priority. To this end, in terms of fine arts, long-term result is expected and recognition as non-exclude ability and non-rival goods is required.
The purpose of this study was to develop a dance education program for sensory integration for general students as well as disabled students with sensory integration problems. For this purpose, the sensory integration dance program and a teaching plan was developed by applying the contents. To this end, it went through the process of application of the program, teacher-interview, researcher’s reflection log, expert advice, peer consulting, and a program that could be applied to the integrated elementary school was presented.
While it was possible to confirm field applicability and program revisions from the teacher’s point of view since the subjects of this study were elementary school special class and integrated class teachers, it was difficult to generalize the effectiveness of the program because it was not applied to actual students.
Despite this limitation, this research was significant in terms of field practice research and field improvement research in that teachers at the site and researchers at the preparatory teacher education institution conducted joint research to improve the educational site.
This paper was able to find the original Korean dance through collective dances accompanied by drinking dances performed at national rituals, such as Buyeo's ‘Yeonggo,’ Goguryeo's ‘Dongmaeng’, Ye’s ‘Muchon’ and Samhan's ‘Sodo,’ a representative ritual of sacrificial rites in ancient times, and to infer the sense of beauty of Korean dance from the common features of their dances.
In addition to the ritualistic nature of wishing and appreciating the harvest of the year, it can be seen that in ancient times, the playtul nature of experiencing the unity of heaven and human beings promoting the people's consciousness, the third, a new order, and the nature of social as well as personal purification (purification) and spirituality were implied.
The purpose of this study is to understand differences in medium, space, and appreciation of art of dance by focusing on the changing notion of choreography and to clarify an implications of the change observable in Forsythe’s ‘choreographic objets’. Early notion of choreography was the meaning of writing and creating a harmonious floor pattern of simple steps by using notation, and then it has changed to the meaning of creating movements suitable for each subjects. However, in contemporary dance, such as ‘choreographic objects’ changed the medium of choreography from a body to an object and erased a boundary between a daily life and a performance stage. Spectators experience and complete the dance using senses of their bodies. Choreography using objects is not a instruction for creating a illusory dance or a dance of profound meaning to be interpreted, but a suggestion for providing a space to experience the essence of dance that feels the world with the whole body.
In this study, the dance and science convergence STEAM program aims to create a shadow play through scientific knowledge and artistic experience. <Show Me the Shadow>, developed as an 8-hour project for elementary school students, drew three research results as follows.
First, it re-established the role of art in the convergence talent education (STEAM). Second, we found a positive aspect of the possibility of developing a dance and science convergence program, which had few opportunities for convergence. Third, the composition and principle of the dance and science convergence program were created.
In this way, the program should be structured so that art and science function as tools for each other, and it can be expected that creative talent can be nurtured through virtuous cycle learning in this process.We look forward to continuing interest and research for the development and spread of STEAM program development.
This paper discusses the aesthetic value of catharsis in dance performances, focusing on Aristotle's theory of catharsis. The conclusion is as follows. First, catharsis as an aesthetic ideal that arises through emotional connection with the audience is an axis of aesthetic sense and aesthetic category, and performs overall aesthetic activity in dance performances. Second, catharsis in dance transcends the emotions of the audience through appreciation, eruption and purification of emotions, based on ethics and social utility that further solidify aesthetic values. Third, the heightened emotions of the audience regain peace while experiencing catharsis and form a virtuous cycle of social moral ethics. Fourth, catharsis has the ideal function of moral thinking by controlling and restraining inner emotions by purifying the mind and emotions of the audience with the effect of psychotherapy in dance performance activities.