• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.283-284
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• 2018

본 연구에서는 심신훈련법이 무용에 어떻게 흡수되고 있는지 알아보고, 이 심신훈련법들을 수행하고 있는 국내 무용가들의 현황을 조사한 연구이다. 심신훈련법으로는 요가, 알렉산더 테크닉, 펠든크라이스로 제한하였다. 국내 무용가들은 요가, 알렉산더 테크닉, 펠든크라이스 가운데 펠든크라이스에 많은 수의 무용가들이 치중되어 있었다. 추후, 일상적으로 행해지는 국내 무용가들의 심신훈련법들과 그들에 춤에 대한 양적 질적 연구가 확대되어야 한다.

• Trans-
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• v.8
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• pp.79-93
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• 2020

The main purpose of this article is to discuss the impact of "Dance Smash" TV show on Chinese dance, which uses the combination of dance and new media technology as the core content of the program. "Dance Smash", as a dance communication TV program for the public, first considers the entertainment attributes of variety shows. Spread the dance art on the basis of meeting the public's aesthetic needs, thereby expanding the popular living space of dance art. The use of 'moment of the storm' has let the general audience of non-dance majors feel the technical charm of dances, thus playing a healthy promotion role. However, whether "Bullet Time", a type of dance program that has had a successful case in the West, can also have a positive impact on the mass communication of dance in the localization of China, this is what questions and seeks of this article.

• The Journal of the Korea Contents Association
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• v.17 no.9
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• pp.375-384
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• 2017

The objective of this study is to suggest problems and complementation of Korean curriculum by comparatively analyzing curriculums of domestic/foreign musical-related departments. In order to compare differences in domestic/foreign curriculums, selecting musical-related departments of domestic colleges with four-year course and 2 or 3-year course, and also five musical-related schools in the US and another five schools in France, the actual lesson status of dance curriculum was researched. In the results, for the development of Korean musical, it would be necessary to reorganize its curriculum. First, the systematic dance curriculum suitable for musical site would be needed. Second, the dance technique lesson suitable for diversified musical expressions should be strengthened. Third, teaching methods for the characterized musical dance would be necessary. Above all, we need effective education method concerned with performance venues. Musical students are facing difficulties in performing acting, singing, and dancing at the same time. In reality, it is even tough to learn a single area among them. For the original Korean-style musical that could be imitated by no one, the systematic curriculum of college is very important.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.44-57
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• 2019

As dance performances in the theater space are centered on text, they have plots and make characters stand out. They also emphasize expressivity and technique, and their recognition of space is very modern and typical of dichotomous Cartesian thinking. The museum space has many similarities with the theater space in that it is a result of modernity and granted authority to present arts. The performances in museums place value more on the presence than on the representation. For this reason, works in museums, which are frequently presented in recent years, are mainly works of site-specific or performative concepts. Now, rather than being able to obtain from aesthetics defined as works, the museum is assured its own aesthetic production and justification, paying attention to the performance as an event occurring now and here.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.441-442
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• 2017

본 연구는 릴리즈 댄스(Release Dance)에 내재되어 있는 선사상을 밝혀내고자하는데 그 목적이 있다. 이를 위해 릴리즈 댄스의 대표적인 안무가인 트리샤 브라운의 사례를 문헌연구하였다. 먼저 브라운이 훈련했던 것으로 알려진 알렉산더 테크닉(Alexander Technique)은 편안함, 감각각성, 무형식의 특징을 통해 선사상을 내재하고 있음을 알 수 있었다. 브라운의 무용에서는 부드러운 움직임, 공간인지, 무질서함의 특징으로 전이되어 나타났다. 브라운 외에도 많은 안무가들이 하나의 신체훈련으로 소매틱스(Somatics)를 접하고 이를 움직임에 반영해왔다. 관련된 사례연구들을 수행하여 릴리즈 댄스자체에 대한 학술적 정의가 필요한 시점이다.