공공재로서 무용의 지식 교육적 접근 방법

Abstract

Contemporary dance is recognized as a space of sharing in which numerous people directly participate as a form of human understanding. Contemporary dance, described using bidirectional relationships, is created and distributed by knowledge structures in which experiences and knowledge are connected. In this context, the contents of this study, which attempted to explain the accessibility of the public good of dance through knowledge education, can be presented as follows. The role of contemporary dance, in which communication takes place through the body as a subject of awareness, has become an investment of life that directly participates in dance with a change of consciousness (an expansion of the mind) and it functions as a public good that communicates with participants through a dance knowledge structure. Dance knowledge structures that are connected among and related to participants possess structures that systematically expand knowledge through themselves. Spaces that participate in dance are relational spaces in which connected relationships between people and dance and between people and people are established and knowledge is created through participant activities (experiences). Dance knowledge education is a form of imagination that approaches knowledge systems formed within history and culture based on background knowledge (sensory data) without depending on any particular knowledge and it recognizes universal lives common to mankind along with individually unique lives and contributes to awakening self-management abilities within them. Integrated artistic dance and dance literacy in contemporary dance knowledge education discovers the creation origins of knowledge from the human spirit of culture and history as public goods and knowledge is created through imagination learning that forms relationships with other things. Dance literacy, which reasons and infers from what has been, makes reading the world possible withing diverse relationships and integrated artistic dance, which broadens the ranges of pluralistic thinking through various sensory data (forms), amplifies the possibilities of self-expression. This signifies that they can possibly serve as containers in which dance knowledge structures are shared as dance knowledge education strategies.