춤의 경계를 넘어서: 실용무용 전공자의 순수무용 경험과 해석

Abstract

This study traces how practical dance majors reconstruct their perceptions, reinterpret embodied experiences, and renegotiate their dance identities through encounters with classical dance genres, including ballet, contemporary dance, and Korean traditional dance. To this end, the study conducted an in-depth phenomenological analysis of narrative self-reports written by 18 practical dance majors who had engaged in classical dance training. Adopting a phenomenological approach, the research analyzes narrative accounts gathered through guided self-report prompts and organizes them thematically to identify patterns of cognitive and affective transformation. Three primary trajectories of change emerged. First, participants described a refined awareness of somatic perception cultivated through the precise, anatomically informed training of classical techniques, which allowed for more intentional and structured engagement with the body. Second, rather than treating classical dance as a set of codified movements, participants recontextualized it as a generative framework for choreographic thinking, initiating a shift in their creative orientation. Third, participants reported a transition from emotion-driven performance to a more nuanced understanding of symbolic and narrative structures, thereby developing an expanded sense of interpretive agency. These findings suggest that classical dance, rather than functioning as a static repository of tradition, can serve as a transformative medium for aesthetic, cognitive, and embodied development. Based on this analysis, the study advocates for integrated pedagogical models that transcend hierarchical genre distinctions and promote a dialogical relationship between tradition and innovation within dance education.