무용을 통한 자기이미지 정립에서 몸의 개념

Abstract

This study is significant in establishing a self-image in dance by referring to the meaning of Merleau-Ponty's sensory body and flesh(la chair) experience after clarifying the meaning of body perception and self-image through Hanna's somat- ic. The research method attempts to analyze literature and previous research data. As a result of the perspective of body perception and self-image through Hanna, T. somatic, the cognitive body from a one-way perspective increases one's dignity, value, pride, and confidence, and has the flexibility of thinking and problem-solving skills to understand and empathize with others. The body from a three-way point of view rec- ognizes material objects, and sees the body's sensory movement memory loss and the rationality of science as a problem of blind thinking. Thus, it explores another self-image through the cognitive experience and learning of sarcal from a two-way perspective, enhancing the value of self-image along with the vitality of new life. Summarizing the results of referring to the meaning of the body of Merleau- Ponty and Hanna, T., the two scholars study the body based on neuroplasticity, but somatic uses proprioceptive sensitivity and touch, and Merleau-Ponty uses proprioceptive sensitivity and synesthesia. In addition, the semantic expression ‘here now’ which represents time and space, Merleau-Ponty means spatiality, and somatics means temporality, so it varies from individual to individual. However, in the sarcal experience, the two scholars have the same views, so it means a cog- nitive body by activating communication through the interaction of the body and brain as the source of senses that can be felt through physical contact. Therefore, the cognitive habits and senses of establishing a subjective self-im- age based on neuroplasticity can be sublimated from dance to creative and original expressive art. In addition, the new experience and cognitive learning of sarcal establishes another self-image, and in dance, it is socialized into creative expres- sive arts such as improvisation dance, play, and movement therapy. After that, it is expected to develop into a more creative and future-oriented dance art than now through communication and convergence with more diverse media.