This study considers methods develop a ballet educator training program that can improve ballet education in South Korea, where technique-focused training leads to physical and mental injuries and lack of artistry. A training program model is developed for ballet educators based on the philosophy of somatic dance/movement education, which integrates dimensions of body, mind, and spirit. The framework of the program was formulated by exploring the educational goals and principles of ISMETA, as well as factors such as ‘knowledge’, ‘autonomy’, and ‘peer networks’, presented in the international survey on education, TALIS. Then, we compared and analyzed domestic and international ballet educator training programs to select essential elements based upon the aforementioned three aspects. We made detailed programs such as ‘somatic dance/movement theory, movement anatomy and physiological dynamics, movement analysis, somatic ballet teaching method, dance education theory, and developmental psychology’ for the knowledge factor, ‘reflective practice’ for the autonomy, and finally ‘pedagogic workshop’ for the peer networks.

The theme of this study is ‘What the nature of somatic/psychological experiences reported by trauma survivors through movement education is.' The problems of this study are: first, to investigate the relation between the somatic characteristics of trauma survivors and their movements and second, to study on the process of their life changes and the meaning of their experiences reported by them through participating in the movement class. Five study participants, among the educators who participated in the Korean Tamalpa Institute’s program, “Remembering the Body” from June to December of 2013, conducted the narrative study from January to March of 2014. Through this study, first, it was found out that the trauma survivors, due to their physiological responses by traumas, had tended to unconsciously block senses arisen in the somatic area and the areas of emotion and perception had been also blocked therefore the sphere of their lives had become limited. Second, they reported that, as the circulating relations among the soma, emotion and perception in the trauma survivors started to develop, they realized the soma, emotion, thinking, relationships, and other life’s contexts such as that in workplace were all connected and changes occurred in them simultaneously. Third, through movement education, the trauma survivors obtained new somatic experiences and they discovered some points where the somatic movement experiences at the studio could be integrated into the metaphoric movement experiences in their lives. Fourth, when the responses by traumas occurred, they understood the traumas’ physiological theory, not by verbal expressions, but through movement.

This study explores the teacher-student relationship in a somatic movement program through a self-study approach, based on the teaching activity for a class consists of 9 females of 65–80 age groups. Through the somatic classes, in general, people experience their own movements. In this study we learned that the teaching is far more effective if the teacher-student relationship is horizontal and consistent body contact exists. Teacher-student relationship was getting deepen into love and compassion through the body contact such as short time massage in the movement session and hugs as the greeting. It provided calm and happy moments to the participants’ minds and bodies; moreover, the touch as a primal and instinctive act made them feel better sensitively and kinetically. Furthermore, the students permitted to access into their soma, which obviously improve the learning process of somatic discipline and they had the modulations of somatic experience in the first-person and second-person experience.

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.