2018, Vol.70, No.3

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

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

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.

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

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.