Naye Kim

The purpose of this study was to explore teaching methods for whole ballet in Korean ballet education. This study built upon a first phase of research that identified the educational content of whole ballet. Four dimensions were identified as the educational content: physical, cognitive, emotional and spiritual. This study employed a qualitative research method to collect data through in-depth interviews (with nine teachers and six students) and observations (in four university technique classes

This paper presents the core findings of a doctoral study conducted between 2009 and 2013 on teaching and learning the creative process in dance composition. Choreographic knowledge that enhances the technical and creative aspects of choreography is examined and interpreted on the basis of Aristotle's techne and phronesis. The research tracks 10 professional choreographers, of whom 5 were selected from Korea and the remaining 5 from the United States, using qualitative research methods through t

This research intended to identify effective teaching styles that nurture creativity in the teaching of dance choreography in Korea. This research is based on the first phase of research that identified choreographic knowledge as educational content aiming to cultivate creativity in the teaching and learning of dance choreography in universities. A literature review covering various fields, including Aristotle’s theory of knowledge, education, creativity, and choreographic pedagogy, was conducte

ABSTRACT This study reevaluates modern dance training in Korea and attempts to identify possible improvements. This study is based on the rationale that Korean modern dance training must recover its nature of a holistic connection between body and mind. A qualitative methodology was used to interpret data from in-depth interviews and open-ended questionnaires. The findings reveal that modern dance training in Korea primarily prizes technical brilliance, which results from, first, the import of t

South Korea has 33 dance departments in tertiary education institutions around the country, with only one of the schools having a choreography major. This study endeavours to bring awareness to the value and necessity of choreography education in nurturing creative choreographers for the dance industry in South Korea and to reject two assumptions: 1) choreographers are born and not made, and 2) choreographers are nurtured through the apprenticeship model. The purpose of this study is therefore t

The purpose of this study was to examine the relationship between depression, stress, burnout anddegree of physical injuries in college dance candidates. As a result, first, there were significantdifferences in depression, stress, and burnout according to whether participants had injuries or not. Second, there was a moderate degree of injury and a high degree of injury had a clear link to thedepression of participants, and participants with a moderate degree of injury showing had the highestdegr

진성리더십에 대한 관심은 더욱더 커지고 있다. 이것은 4차 산업혁명에 따른 대학교육의 변화에 맞춰 현 사회에서 요구되는 새로운 역량 중 하나이기 때문일 것이다. 본 연구는 대학무용교육에서 진성리더십 개발에 대한 실제적인 방법론을 탐구하는데 목적이 있다. 구체적으로, 안무 교수학습 모델 안무 테크네와 프로네시스를 기반으로 무엇을 어떻게 가르칠지에 대한 방안을 제시한다. 연구의 목적을 실현하기 위해 2절에서는 이론적 연구로, 진성리더십, 창의성, 그리고 내러티브 탐구 이론을 살피며 3절에서는 진성리더십 안무교수학습 모델을 제시하며 세 가지 단계로 구성된다: 진성정체(authentic identity), 진성관계(authentic relationships) 그리고 진성행동(authentic behaviour). 또한 4절에서는 적용방안을 고찰하며 향후 연구의 방향을 제안한다.

현 21세기 디지털 시대에 발 맞춰 무용공연에서도 무용과 테크놀러지의 융복합 공연이 활성화 되고 있다. 융복합이란 ‘융합’과 ‘복합’의 합성어이며, 여러 기술이나 성능이 하나로 융합되어 새로운 무언가 를 창출해내는 일을 일컫는다. 현시대에 맞는 안무가 양성을 모색하기 위해 본 논문을 무용과 테크놀러 지의 융복합으로 인해 발생하는 장르간의 상호작용성을 중심으로 탐구하여 융복합 안무교육 목적과 교육 내용을 탐색한다. 심층면담을 활용한 질적 연구방법론을 채택하여 명성적 사례표본 추출방법으로 용복합 공연에 대한 전반적인 지식, 경험, 안목을 갖춘 10인을 선정하였다. 연구결과로 융복합 안무 교육 목적은 지속 가능성을 목표로 유네스코 학습의 네 가지 기둥 기반으로 알기 위한 학습, 행동하기 위한학습, 함께하기 위한 학습, 존재하기 위한 학습으로 나타났다. 융복합 교육내용으로는 퍼포먼스와 퍼포머티브의 상호작용성을 통한 몸, 환경, 기술로 구분되었다. 본 연구는 안무교육을 통한 지속 가능성에 대

The purpose of this research is to identify choreography educational contents for teaching and learningof choreography to Korean dance majors. The research is primarily based on Kim’s(2016) choreographictechne and phronesis, and a phenomenological approach based on qualitative research methods isadopted. Ten study participants were selected based on the ideal case method. The research findings illustrate that the contents of Korean dance choreography education based onthe ‘choreographic techne a

본 연구는 코로나19 팬데믹으로 인하여 갑작스럽게 맞이하게 된 비대면 수업상황에서 학습자들의 학습경험을 살펴보고 효과적인 무용실기교육을 위한 비대면 교수학습설계를 탐색하고자 수행되었다. 비대면 교육환경에 적합한 교육목표와 교수방법의 적용과 효과를 논의함으로써 비대면 테크닉 수업의 실천적 전략을 마련하고 궁극적으로 비대면 테크닉 수업의 가능성을 탐구하는데 목적이 있다. 이를 위해본 연구는 성균관대학교 학생들을 대상으로 개설된 전공필수 테크닉 수업을 수강하는 남녀 33명을 연구참여자로 선정하였으면, 2020년 9월부터 2022년 12월까지 실행연구에 기초하여 참여관찰, 교사수업일지, 자기보고서, 필드노트를 통해 자료를 수집하였다. 결과는 다음과 같다. 줌(Zoom)을 활용한 실시간 테크닉 수업의 도전을 위한 교수학습설계로, 1) 신체지각함양을 교육목표로 설정하고, 2) Mosston’s Spectrum of Teaching Styles(모스턴 교수 스타일) 중 Guided Discove

This research aims to re-examine the education of dance composition by exploring intra/interpersonalintelligence from Howard Gardner’s theory of multiple intelligences and to identify the educationalcontents to promote expression. The phenomenological research approach based on the interpretativeparadigm was adopted. 10 choreographers were Selected based on the ‘criterion-based sampling’ anddata was colleted through semi-structured interviews. Data was analyzed based on Moustaka’shorizonatilizin

This study objects to analyze the impact factors of consumer’s buying behavior of non-verbal performance “Let’s Dance CRAZY!!” by understanding the characteristics of non-verbal performances. The methods of the study include a thorough literature review and semi-structured in-depth interviews with returning audiences. The study participants were selected amongst returning audiences who have watched the performance “Let’s Dance CRAZY!!”more than 6 times in their 20s and 30s.The results of the stu

This study is focused in particular on Interactive Performance, where the artist makes use of digital technology directly on stage. In this en- deavor, Adrien Mondot’s “Cinématique,” a project which made use of its dance troupe’s techniques of its own design, will be the subject of analysis. The project’s ingenious and uniquely designed software, a tool which makes virtual motility to dance routines possible, is a prime exam- ple of an interaction between a performance artist and digital media.