• Journal of the Society of Disaster Information
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• v.17 no.3
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• pp.640-654
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• 2021

Purpose: Normal education operation was difficult in the national disaster situation of Coronavirus Infection-19. Non-face-to-face education can be an alternative to face to face education, but it is not easy to provide the same level of education. In this study, the professor of disaster management field will identify problems that can occur in the overall operation and progress of non-face-to-face education and seek ways to improve non-face-to-face education. Method: Non-face-to-face real-time education was largely categorized into pre-class, in-class, post-class, and evaluation, and case studies were conducted through the professor's case studies. Result&Conclusion: The results of the survey are as follows: First, pre-class, it was worth considering providing a non-face-to-face educational place for professors, and the need for prior education on non-face-to-face educational equipment and systems was required. In addition, it seems necessary to make sure that education is operated smoothly by giving enough notice on classes and to make efforts to develop non-face-to-face education programs for practical class. Second, communication between professor and learner, and among learners can be an important factor in non-face-to-face mid classes. To this end, it is necessary to actively utilize debate-type classes to lead learners to participate in education and enhance the educational effect through constant interaction. Third, non-face-to-face post classes, policies on the protection of privacy due to video records should be prepared to protect the privacy of professors in advance, and copyright infringement on educational materials should also be considered. In addition, it is necessary to devise various methods for fair and objective evaluation. According to the results of the interview, in the contents, which are components of non-face-to-face education, non-face-to-face education requires detailed plans on the number of students, contents, and curriculum suitable for non-face-to-face education from the design of the education. In the system, it is necessary to give the professor enough time to fully learn and familiarize with the function of the program through pre-education on the program before the professor gives non-face-to-face classes, and to operate the helpdesk, which can thoroughly check the pre-examination before non-face-to-face education and quickly resolve the problem in case of a problem.

• (The) Research of the performance art and culture
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• no.42
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• pp.147-181
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• 2021

Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.