2018, Vol.69, No.2

The Korean Journal of Dance Studies 2023 KCI Impact Factor : 0.93

pISSN : 1226-900X / eISSN : 2713-9468
https://journal.kci.go.kr/krsds

The Fourth Industrial Revolution has become such a buzzword in Korea, and the dance field is no exception for it. Instead of consuming it as another slogan to absorb, this study takes a critical and contextualized approach to it in the light of the future of dance in higher education. Shifting the framework from topics of ‘the Fourth Industrial Revolution’ and ‘dance departments’ into those of ‘technology-capital discourse’ and ‘dance in higher education’, the researcher argues that the dance field should problematize the paradox found in the logics of university reconfiguration, conceptualize dance in higher education beyond the boundary of departmental structures, and build an arena in which disparate subjects can share with each other and envision the future of our field.

This study investigates the concepts and competencies of convergence dance educators. In order to achieve this research purpose, this study conducts literature review and contents analysis. The results are as follows: First, convergence education is not restricted to transferring the existing knowledge, rather it encourages students to develop their own ability to create and apply various knowledge. Second, if the convergence dance education refers to ‘education to cultivate talented people capable of creative and convergent thinking through dance,’ a convergence dance educator can be defined as ‘a talented person who approaches a given problem through a convergence of various knowledge and experiences and creates creative performance.’ Third, the competence of the convergence dance educator is related to competencies to understand the phenomenon and process of convergence, the problem - solving competence, the positive value such as creative personality, and the attitude related competence.

This is an exploratory study on the boundary of art focusing on ballet in Korean society. I examines the attitudes and approaches of early actors in Korea -from the 1920s to the 1940s- toward ballet through literature. The results are as follows: 1) At that time, ballet was not only art but also entertainment in Korean society. 2) Actors who regarded ballet as art had consistently emphasized that ballet was a fine art in western society with authority and tradition, distinguishing and excluding ballet from entertainment. In conclusion, it can be seen that ballet was a medium of boundary of art in Korean society at the time.