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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
황정옥 (한국무용교육학회)
저널정보
한국무용교육학회 한국무용교육학회지 한국무용교육학회지 제29권 제4호
발행연도
2018.1
수록면
15 - 29 (15page)

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초록· 키워드

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Even the education system now wants to share and produce knowledge with empirical knowledge instead of forming content systems with rational knowledge. Contemporary dance education reasons (thinks) with the body and it also requires empirical knowledge. Because of this, the character of dance experiences, which are direct experiences, becomes the role and function of dance education. Today’s society needs people who can express themselves well and who believe in their own abilities. This is because the limitations and problems that cannot be filled by rational knowledge can be restored by trust created by the imagination of our awareness. Because of this, this study, which aims to observe the educational functions of dance experiences, attempted to study dance education within the changes of today’s society, or in other words, the position and contemporary character of dance experiences, and based on this, it explored the character of dance experiences as self-expression. This makes selfexpression as anticipated by the contemporary age a role of dance education and the results drawn through this study are as follows. Dance education (lived experience) of the contemporary age does not refer to experiences that are incorporated into or displaced by knowledge but it exists within the flow of our consciousness that projects and introjects the world itself as we perceive it. By focusing on the unique functions that dance has as an arts form and not only understanding one’s self (self-awareness) but also observing and exploring things that go beyond other cultures, other time periods, and other regions (objects, thoughts, phenomena), it collaborates in figuring out the position of one’s own (culture) attitude and values. The contemporary character of dance education is in its exploration of methods that create experiences. As this is an awareness of a world that is ‘discovered’ by one’s own senses and an act of ‘giving meaning’ to this, it is an ethical attitude that focuses on dance perception within relatedness and it is a realizable attitude through self-expression that cautiously thinks with the body. Moments of dance experience are not continuations of moments but a time of formation- change. This is because one personally feels and thinks and faces time and the subject of formation-change with the heart. As self-expression in dance experience is not speculation or prediction but becoming that something with the heart (indirect experience), this leads to the issue of how we exist (how we will exist) and introspection. Self-expression exposes the larger truth in relationships and it is the image of imagination as spoken by internal calm (peace of mind) and the courage of self-expression in the world holds the anticipation that we can become liberated from all that defines us and stipulates us as concepts ‘discovery’ and ‘giving meaning’ in contemporary society begins from such courage. Thus, we search for the discernment and courage that allow us to understand experience in the proper direction from within dance experience and self-expression in dance experience expands the unique possibilities and potential of humans through such actions.
#dance education #dance lived experience #discrétion

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참고문헌 (12)

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강윤주 / 2017 / 생활 예술 / 살림 google schola 김상욱 / 2015 / 상상력과 지식의 도약 / 이학사 google schola 한혜리 / 2018 / 문화에서 춤의 교육적 기능과 안무의 예술적 요소와의 관계 / 한국무용교육학회지 29(3):77~92 dbpia 황정옥 / 2018 / 무용교육프로젝트에서의 무용 체험 / 한국무용교육학회지 29(3):39~51 dbpia Burke, P / 2017 / 지식은 어떻게 탄생하고진화하는가 / 생각의 날개 google schola

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