• Journal of The Korean Association For Science Education
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• v.42 no.1
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• pp.77-96
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• 2022

This study investigated how collaborative reflection between novice secondary science teachers promoted the development of teaching professionalism. We intentionally selected research participants who shared sufficient rapport. Data were collected by videotaping the classes taught by participants, pre-talk, post-interviews and nine collaborative reflection processes. All data were transcribed and analyzed. Results indicated that all three teachers showed changes in teaching practice. Minyoung's practice involved a teacher-led lecture, but through collaborative reflection, she could create a learning environment to enhance students' power and ownership in her class. Emphasizing academic rigor, Soyoung used to teach content outside the scope of the curriculum, but through collaborative reflection, she became more considerate of students' understanding. Finally, in Jiyeon's classes inquiry activities and theoretical explanations were separated from each other. However, she repeated her efforts to improve her class after collaborative reflection, allowing students to construct explanations through activities. In this study, three factors that promoted the development of teachers' pedagogical content knowledge through collaborative reflection were identified. First, the different teaching orientations of the three teachers who participated in this study, promoted sharing of opinions through collaborative reflection. Second, reflection based on teaching practice enabled practical feedback on the class, which enhanced the development of teachers' pedagogical content knowledge. Third, the equal status and formation of rapport between the three teachers created an environment for productive reflection. These results suggest that future teacher education programs should target communities that can promote collaborative reflection based on teachers' teaching practice.

• (The) Research of the performance art and culture
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• no.19
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• pp.347-378
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• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.