• (The) Research of the performance art and culture
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• no.41
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• pp.69-92
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• 2020

This study describes the impact of early childhood teacher's artistic competence on art education pedagogy and improved curriculum design. Furthermore, the effect of drama as a way of improving early childhood teacher's artistic competence is explained. Many researchers have mentioned that early childhood is a period of sensitivity and potential. Therefore, it will be helpful if children meet a teacher who understands them and inspires their innate artistic sense at a level of their eyes. It explained which aspect of artistic competence should be focused for the teacher training education. There are many approaches to develop early childhood teachers' artistic competence. Adopting drama is one of them. The strong points of drama to improve their artistic competence are as follows. Firstly, human's movement and voice are the main artistic channel in drama. What we are doing in daily life is found are drama world. It means if early childhood teachers experience drama activity, they will feel more comfortable and intimate with it. In addition, early childhood teachers tend to be familiar with dramatic play, so they can more easily access to drama world. Secondly, drama will be helpful to understand different feelings and to broaden and deepen understandings of others' standpoints. For early childhood teachers, drama activity will be helpful to understand how dramatic art form works and to lead children's play in diversified and sincere way. In addition, drama activity will be useful to build horizontal and democratic relationships between children and the teacher. It is one of the main emphases of 2019 revised Nori national curriculum. To sum up, drama will be a excellent method to develop artistic competence for early childhood teachers. Thus, it is expected that They have more opportunities to experience drama as an art form.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.