Dance education research, like all research, can be either quantitative or qualitative. The purpose of this study is to discuss ontological and epistemological paradigms from a philosophical perspective, and analyze dance educational research in order to enhance the understanding of these conceptual paradigms, thereby contributing to proper development of dance education research. Epistemological paradigms seem to reasonably argue that our understanding of reality depends on our conceptual worlds, in truth reality is subjective rather than objective. However, certain pre-eminent features in physical objects and human behavior exist independently, limiting our explanations and understandings of reality. Therefore, considering the historicity of individuals and social groups, it is necessary to understand dance education through qualitative research. However, preeminent features in physical objects and human behavior constrain our understandings of educational realities. Such constraints make it possible for the researcher to derive generalized concepts of reality through quantitative research. The results of quantitative research put forward some uniqueness in dance education that must be analyzed through qualitative research. In this respect, it is false and misleading to dichotomize research paradigms as ontological and epistemological. Considering such positive interactions between quantitative and qualitative research, it is obvious that these research methodologies are complementary.

This study focuses on how to teach general dance education in university environments where a dance department does not exist, making it difficult for students to approach dance as an art. Within such a context, this research aimed to teach a general dance class in such a way as to improve students’ perceptions of dance as art. The research questions were as follows: First, what is the perception of general dance education for students who live in areas where people lack opportunities to experience dance as art? Second, what should be taught in a general dance education class in order to activate perceptions of dance as art? Third, what points could be improved in a general dance class in order to revitalize dance as art? This study followed an action research format, focusing on a real situation while seeking to understand the role of education. The participants were five male students taking a general dance class at a four-year system university located in Chungcheong province. In this context, it is difficult to offer various dances as art forms to students because the class runs semester by semester, making it difficult to meet all student requests in such a brief time. In addition, the university lacks any other dance classes, so students had no choice and could not compare with other classes. Therefore, the interviews completely focused on the researcher’s class, lacking comparisons with other classes. The study results indicate the following effective approaches to a general dance class. First, the class needs to include “dancing for physical exercise.” Second, the class needs to be “naturally experienced.” Third, the class needs to be “exciting and communicable.” These results emphasize that dance is not a “serious” class but offers comfortable and interesting learning to students. In addition, educators need to consider the students’ responses and develop teaching content and methods depending on the situation. Therefore, dance educators teaching general dance classes must consider various environments and students’ interests. Many action research studies on general dance education have been published, and people can continue to share their experiences in the future. Furthermore, we can expect increasing interest in dance as art.

This study investigates whether teachers in the field of public elementary education, who did not major in the arts, can actively utilize artistic activities in teaching-learning methods. The subjects of this study were 9 teachers who had not majored in any of the arts. In 2014, from the first class on May 7 to the last class on December 10, for a total of 15 classes, these teachers received a demonstration class, experienced the arts, produced artistic works, and developed programs. The researcher provided time for the subjects to experience artistic education and subsequently develop an educational proposal that could be actively utilized in the educational field. Through this process, the researcher was able to derive the following conclusions. First, it was possible for teachers who had not majored in the arts to develop art-integrated educational programs and because this development was led by teachers, they had no problem applying the programs in the field. However, because there was a premise that such development was made in collaboration with art education experts, discussion regarding collaboration between teachers in active service and experts in art education is needed. Second, as art education is a teaching method for obtaining long-term effects, in order for teachers to actively utilize it in the educational field, priority should be given to teachers to having sufficient artistic experiences and the appropriate environments in which to develop educational proposals. To this end, multi-sided support should be sought, for example, opportunities for long-term training or the development of educational courses and tools.

There are 111 main conveniences that Korean dance has in common with history research areas. Both could be categorized as age, ryupa, kind, local, and life of five. This study analyzed Korean dance history in order to provide direction for the development of localized educational content. For this purpose, we redefined the needs and professional structure of the writers of Korean dance history around the cheotjae, or the contemporary Officer. The other purposes of this study were to ensure the clarity of the Korean dance category and to express the needs of the Korean council of dance-related institutions and organizations. Prior to the development of the orientation of the educational content, the universality, consistency, and originality of Korean dance would need to be combined. This would construct a systematic framework for the educational contents of the Korean traditional dance historical research.

The current study seeks to provide and examine a new value classification of community dance. Community dance, based on dance education, is an act of interacting with others, discovering oneself anew, and gaining confidence through physical movement. It also represents communication based on social common denominators and restoring of interactions that were cut off by the advancement of information and communication technologies. Community dance in Korea is being utilized in various ways: it is an activity that laypersons engage in to get pleasure, be healed, interact with other people, and learn new things. Community dance may be put into the four following categories. First, ‘community dance as performance’ focuses on producing outputs with a sense of ‘community’ being together. It generates new meaning as members of the general public take part in stage performances. In addition, it has attained artistic value by expressing the zeitgeist of different times through interactions with various generations. ‘Community dance as performance’ is distinct in that it has popularized community dance, bringing professional choreographers close to laypersons who dance. It has also given an enhanced sense of completeness with its orientation as performance. Second, ‘community-centered community dance’ has shared the cultural identity of the community through dance and re-produced different communities. As a dance centered around the community for the people of the community, it can discover unique features of the community and tell stories of the people of the community. Third, ‘community dance for unspecified groups of people’ is one that anyone can Abstract 한국 커뮤니티 댄스의 새로운 가치 분류를 위한 시론 211 participate in. It provides opportunities for people of different generations to interact with one another. This category includes various community dances that are hitherto defined differently, and brings together like-minded communities through dance. Fourth, ‘community dance as dance education’ is part of dance education, and provides a space for people to dance together. It helps people to express themselves better, gain self-confidence, think creatively, and enjoy cultures and arts.

Human beings think, study, and develop creativity and character somatically. However, at present, many people are pressured and stressed; as a result, they have lost this sense. The purpose of this study is to explore the principles and develop a program of movement education based on somatics through the analysis of literature on somatics as a practice plan for the recovery of the vitality of soma. First, the principles of movement education based on somatics are as follows: The goals of education are atony, awareness, awakeness, and abundance. The contents of education are soma and movement responding to temporal, spatial, and relational factors. The methods of education are composed of verbal methods leading to first-person experience, including description, comparison, explanation, and questions, and non-verbal methods leading to second-person experience, including touch. Second, the program of movement education based on somatics was as follows: The “Soma 4A program” was developed to reflect the principles described above. Specially, three programs were actualized with a focus on characteristics like totality, verticality and confrontation, balance and horizontality, and movement. Finally, we recommend implementing and evaluating this program, developing various programs, expanding movement education based on somatics, and connecting this to dance education. We hope that this study will represent a small steppingstone in movement research–based somatics, and that it will help dancers and ordinary person to understand the soma through the provision of valuable data.

The purpose of this study was to examine the state of choreography education as part of musical dance education in music departments in the United States, France, and South Korea to spread awareness about the necessity of creative choreography education to expedite the revitalization of the inclusive functions of dance in musical departments. In the United States, not only the theoretical dance classes but also advanced practical dance courses (tap, jazz, ballet, and modern dance) necessary for musical education are offered in a systemized way. Furthermore, other courses give students who have taken the practical courses the opportunity to produce their own works through creative choreography. All of these courses enable students to exert their creativity. Similarly, many creative dance courses are offered in France along with theoretical courses, although few professional dance techniques are taught in musical dance classes in professional arts schools specializing in theater in comparison with the case of the United States. Students who take creative dance courses are given a lot of time to produce their own works in collaboration with other fields. Indeed, they are educated to be fully aware of the roles of dance in works. In musical dance classes in South Korean colleges, however, there are generally no further attempts to provide opportunities to experience dance in the repertoires of existing musical works. Indeed, current musical choreography education is neither systematic nor professional enough to teach students to come up with creative, inclusive ideas through experiencing a wide variety of dance genres. Fundamentally, the curriculums of the musical departments aim to nurture the professional human resources necessary for musical production; dance choreography education should be integrated into and strengthened in these curriculums to foster actors who are skilled at acting, singing, and dancing. In addition, more cooperative programs should be prepared to provide opportunities to produce works in collaboration with other fields. In this way, competent human resources will develop into musical directors or producers who are aware that choreography is no longer a supplementary part of musical education but should rather be developed along with acting and music. As this sort of education is expected to nurture capable choreographers who can create choreography with an excellent understanding of drama, dance choreography education seems to be mandatory for a musical curriculum.

Since the 1990s, Korea has developed into a full-fledged multicultural society with an increase of foreign workers, marriage immigrants, and defectors. Today, as multicultural education is emerging as a critical task for Korea in the 21st century, it is a crucial moment to examine what role Korea’s dance education plays in such a multicultural society. The purpose of this study is to search for an appropriate type of dance education, given Korea’s transition to a multicultural society. Thus, this study conducted comparative studies between the United States’ form of multicultural education and France’s intercultural education to identify the current status and problems of dance education in Korea. Based on this analysis, four ways in which intercultural education has been applied as an alternative to appropriate dance education in Korean multicultural society are presented. This study attempts to identify the similarities rather than the differences in intercultural dance education. Furthermore, children coming from immigrant families and students from ordinary households want to communicate with each other through various traditional dances. Therefore, intercultural dance education needs to be extended to immigrants as well as native citizens. Additionally, a community dance program that implements intercultural education for a large number of inhabitants and a small number of immigrants should be established. If dance education that emphasizes communication and mutual integration is formulated to meet the needs of the present age, it is expected that it will also be a great help toward creating a safe and healthy multicultural society. Through this study, the importance and value of dance in Korean multicultural society will be re-acknowledged, and the value of dance education for leading the way toward a 21st century multicultural society will be illustrated.

The study aims to explore the function and meaning of Korean community dance. To meet this end, the research was conducted based on interviews with choreographers who participated in community dances and related materials. As its theoretical orientation, this study adopted a phenomenological approach among qualitative research methodologies. Community dance is a process in which the participants are self-driven and understand themselves through a structure led by professional dancers, but it also creates a sense of community awareness and a positive atmosphere. The study also focused on in-depth interviews to explore the function and meaning of Korean community dance in order to ensure the validity of qualitative research. First, community dance cultivates self-awareness of community members through communication structure. Second, community dance provides the basis for discovering new choreography methodologies. Third, community dance enables the discovery of new possibilities of modern dance. Fourth, community dance promotes the re-recognition of the process of completion of works Fifth, community dance encourages the sharing of positive elements of dance. In conclusion, Korean community dance has a variety of functions and meanings. In order for community dance to continue, supports from various agencies, including the program operator and the Cultural Foundation, and the development of choreography methods, and diverse methods of communication with the public are needed.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.