무용교육프로젝트에서의 무용 체험
Dance lived experience in the project for dance education
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Facing the age of sociality(socialité) in which people resist what is social, dance education is suggesting dance education projects as an alternative for the existing educational system. Within this context, this study has examined the functions and roles of experience in order to understand the characteristics of dance education projects. Dance education premises a practiced and shared direct experience(lived experience). Therefore, the findings of this study can be presented as follows. Contemporary dance education is a system of self-expression that allows students to describe (construct) their lives. It exists as an educational project and forms the space of liberation and struggles for ‘becoming’, that is a process of understanding the history that the being of ‘self’ has been formed and establishing oneself. Therefore, a dance education project is about the participation of paying attention to an individual and unique being and the extension of relationship and revealing in public area to take steps to be oneself. Through a (symbolic) experience to become something, a dance education project vitalizes one’s sense of double-sidedness, that is balance and rearrangement captured in the structure of similarity and difference, and conflict and solidarity. Moreover, with voluntary and courageous expression as well as self-conviction, one gets to realize and reorganize the social system and one’s own life. At this time, expression is awareness, and self-conviction is experience in the position of ‘I (self)’, that is one’s sense. A dance education project is the eye (discernment) and involvement in the relations of the world to perceive things that one has not been able to observe before, never separate ‘I (self)’ from other objects, generate (provide) new meaning for them, or recognize phenomena and the problematic situations (essence) of facts. To realize this, it is necessary to have dance experience to think about how it would work instead of defining (explaining) and demanded to have (special) inner intimacy as metaphor and symbol. This is possible when the sense one has is undamaged dance experience itself; therefore, recognition on relations rather than the expression of (sophisticated forms and contents) forms the element of experience.
Abstract
Facing the age of sociality(socialité) in which people resist what is social, dance education is suggesting dance education projects as an alternative for the existing educational system. Within this context, this study has examined the functions and roles of experience in order to understand the characteristics of dance education projects. Dance education premises a practiced and shared direct experience(lived experience). Therefore, the findings of this study can be presented as follows. Contemporary dance education is a system of self-expression that allows students to describe (construct) their lives. It exists as an educational project and forms the space of liberation and struggles for ‘becoming’, that is a process of understanding the history that the being of ‘self’ has been formed and establishing oneself. Therefore, a dance education project is about the participation of paying attention to an individual and unique being and the extension of relationship and revealing in public area to take steps to be oneself. Through a (symbolic) experience to become something, a dance education project vitalizes one’s sense of double-sidedness, that is balance and rearrangement captured in the structure of similarity and difference, and conflict and solidarity. Moreover, with voluntary and courageous expression as well as self-conviction, one gets to realize and reorganize the social system and one’s own life. At this time, expression is awareness, and self-conviction is experience in the position of ‘I (self)’, that is one’s sense. A dance education project is the eye (discernment) and involvement in the relations of the world to perceive things that one has not been able to observe before, never separate ‘I (self)’ from other objects, generate (provide) new meaning for them, or recognize phenomena and the problematic situations (essence) of facts. To realize this, it is necessary to have dance experience to think about how it would work instead of defining (explaining) and demanded to have (special) inner intimacy as metaphor and symbol. This is possible when the sense one has is undamaged dance experience itself; therefore, recognition on relations rather than the expression of (sophisticated forms and contents) forms the element of experience.
참고문헌 (16)
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