1970년대 한국무용교육에 대한 예술사회학적 접근 = An Sociology of art Approach to Korean Dance Education of the 1970's

다국어 초록 (Multilingual Abstract)

This study was conducted under the understanding that the sociology of art investigation into Korean dance education of the 1970s would be significant for both the educational community and the dance community. An attempt was made to summarize the study results as follows:
The first problem was concerning the change of Korean society and the trends of art. As a result, it was found that the 1970s were the period of time that the Revitalizing Reforms(Yushin) system adopted strong nationalism as the moving force for national integration by implementing the cultural policy of the promotion of national culture through the mobilization of the mass media and are meaningful in that it fostered the climate of attempting the zest proper to Korea.
The second problem was concerning the trends of education. The phenomenon of overheated education due to rapid economic growth in the 1970s resulted in the loss of the original function of education, which in turn led education to fall into the means for manpower supply necessary for economic development.
The third problem was concerning the relationship between the formation of social consciousness, and mass cultures and arts. All the cultural and artistic fields tended to join in the painstaking spiritual life of the masses though different in form which became the opportunity for the masses-centered cultures and arts to emrge on a full scale.
The fourth problem was concerning the role played by the dance-art community and the dance-education community. the sharing of the role played by the dance-art community and the dance-education circles became unclear in the process that the center of the dance circles moved from the group of dancers to the group of dance professors. For this reason, the conflict between them became deepened, which became the impedimental element to the overall development of the dance circles. And though dance criticism was active, there was the deepened conflict between dancers and critics surrounding dance criticism in proportion to it.
The fifth problem was concerning the reformation of the curriculum and the condition for dance education. Though dance education in the levels of schools might appear to be specialized to an extent that creative dance was listed on the contents of instruction due to the reformation the curriculum, its object was limited to girl students at middle and high schools. Even the number of school hours assigned do dance education was appropriated for physical education with the introduction of the physical fitness promotion system in the entrance examination for college, which resulted in the considerable diminution of dance education. It has brought about the dubious result in terms of its effect to simply set the subject of creative dance alone in the situation that the number of dance teachers specializing in dance, the most condition for dance education, are absolutely lacking.
The sixth problem is concerning the limitation of all kinds of dance events and dance education in sociology-of-art terms. Even though all sort of dance events might actively be held, there were a very few dance performance activities that joined in the difficult life of the masses in the 1970s except several dance works in the dance field, unlike other artistic fields. Owing to various limitations of the dance circles, the increasing opening of the dance department did not lead to the development of dance education, and further even the dance contest that should have become the arena for testing the effect of dance education fell into the vehicle for admission into the school of higher grades.

목차 (Table of Contents)

• Ⅰ.서 론
• Ⅱ.1970년대 한국사회변동과 교육성향
• 1.체제변화와 문화사회적 변동
• 2.1970년대 교육성향
• Ⅲ.1970년대 대중문화와 무용계 동향
• 1.사회의식의 형성과 대중문화예술
• 2.무용예술계와 무용교육계
• Ⅲ.1970년대 한국무용교육실태
• 1.교육과정상의 무용교육
• 2.각종 무용행사와 무용교육의 한계
• Ⅴ.결 론