For more details on the courses, please refer to the Course Catalog
| Code | Course Title | Credit | Learning Time | Division | Degree | Grade | Note | Language | Availability |
|---|---|---|---|---|---|---|---|---|---|
| COV7001 | Academic Writing and Research Ethics 1 | 1 | 2 | Major | Master/Doctor | SKKU Institute for Convergence | - | No | |
| 1) Learn the basic structure of academic paper writing, and obtain the ability to compose academic paper writing. 2) Learn the skills to express scientific data in English and to be able to sumit research paper in the international journals. 3) Learn research ethics in conducting science and writing academic papers. | |||||||||
| COV7003 | Academic Writing and Research Ethics 3 | 3 | 6 | Major | Master/Doctor | SKKU Institute for Convergence | - | No | |
| This course trains graduate students to become more effective, efficient, and confident writers. This is a hands-on course that emphasizes interactive examples and practice. In the first four weeks, we will review principles of effective writing, examples of good and bad writing, and tips for making the writing process easier. In the second four weeks, we will examine issues specific to scientific writing, including: authorship, peer review, the format of an original manuscript, and research ethics. Students will complete editing exercises, write two short papers, and edit each others’ work. The primary audience is graduate majors, graduate students in any disciplines, and professional scientists. | |||||||||
| DES4001 | Convergence Capstone Design | 3 | 6 | Major | Bachelor/Master | Design | Korean | Yes | |
| Various students from different majors, Design, Art, IT, Business, Engineering, and etc., are gathered to study the development of future new technology, services and creative design products. Also, they are processing the prototype of the study and supporting the application of effective ideas. The purposes of this study are to overcome the present level of studies' approaches and create new and innovative values and to acquire creativeness, Problem Based Learning skill, and ability to conduct Team Project. | |||||||||
| ERP4001 | Creative Group Study | 3 | 6 | Major | Bachelor/Master | - | No | ||
| This course cultivates and supports research partnerships between our undergraduates and faculty. It offers the chance to work on cutting edge research—whether you join established research projects or pursue your own ideas. Undergraduates participate in each phase of standard research activity: developing research plans, writing proposals, conducting research, analyzing data and presenting research results in oral and written form. Projects can last for an entire semester, and many continue for a year or more. SKKU students use their CGS(Creative Group Study) experiences to become familiar with the faculty, learn about potential majors, and investigate areas of interest. They gain practical skills and knowledge they eventually apply to careers after graduation or as graduate students. | |||||||||
| SKD5018 | Seminar in Dance Criticism | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| Observe the critique’s subject, evaluation, interpretation and philosophical concepts. Among the critique and review, which is considered as a general evaluation, analyzes the ballet critique and process of critiquing. The objective is to extend the analytical skill and capability of a dance critic. | |||||||||
| SKD5036 | Choreutics | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| Space or the Space Harmony is a system to look at the route drawn in the space and analyze its form and design. Laban believed that there is a harmonious form even in all the movements like music or fine art, and thought that the trace forms created by the physical movement through the effort and shape in space have formal and measurable association in the harmonious and natural relationship. The concept about the ‘Space Harmony’ can be listed such as following: - It is the inner architecture that resists and gets away from the gravity organization to build a structure supporting the structure that has nothing to do with gravity. - The movement is a manifestation of consciousness and sub-consciousness and the space makes it possible to look at and remember that. - The harmony should necessarily be in consistency, unity and balance. - The harmonious scale of the space contains the axis of direction, balance of form and natural rhythm that suit the order going on according to its form. | |||||||||
| SKD5058 | Dramaturgy | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| This course aims to understand a role of dramaturge and historical process from the institutional system of theatre the dramaturge made her appearance in the field of dance relatively late. Recently dramaturgy is emphasized as main process of art-making with collaboration and interdisciplinary research in contemporary art. It was prompted by current artistic process and often regard them as just as or even more important than the choreographic work itself. Originally the term of dramaturgy has migrated from theatre, and this appeared in late 1970s German tanz theatre represented by Pina Bausch. And it seems that more and more European choreographers and performance makers and even theorists nowadays are interested in integrating a function of that name. In this course I would like to 1) historically contextualize the rise of dramaturgy in dance through linking it with specific artistic developments since Bausch`s Tanztheater. I will also discuss, 2) in the light of many case of practice as dramaturge, some of the various concepts and approaches to dramaturgy: from outside eye(aesthetic, context) to physical(experiential) dramaturgy, from treating documentation and databases to making dialogue with choreographer. Also, 3) I will encourage students to apply choreological method which is able to analyze choreography in perspective of microscopic and contextualized. Choreological methodology is one of practice based research and it is useful to observation, analysis, | |||||||||
| SKD5061 | Somaesthetics in Dance | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| Dance is defined as any patterned, rhythmic movement in space and time. A broad definition of this sort, which refuses to distinguish between human and non-human motion. The three theories of art as imitation, expression, and form are especially useful. Also, we distinguishes between representation and expression and analyse some of the main types of symbolization or reference that occur in dance. Dances and choreographers of Baroque Dance, Romantic Ballet, Classic Ballet, Modern Dance, Neo-classic Ballet, Post-Modern Dance, Contemporary Dance are introduced and analyzed. The idea of the dance starts from Aristotle. Aristotle declares that the dance interprets and imitates life. For the soaring of the dancer through space, for the inherent beauty of this divine sport, the philosophers substitute the concrete excellences of the sign language. Aristotle’s definition is at the root of all the battles the ballet has fought from Jean-Georges Noverre, who terms it an art of imitation designed to ‘copy nature faithfully and to delineate the emotions upon the stage,’ down to Michel Fokine, who, in his turn, championed the dramatic ballet aginst the great formal ensembles, stylized and abstract, arranged by Marius Petipa, the French ballet-master who reigned for half a century over the Russian dance. | |||||||||
| SKD5062 | Dance and Technology | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| “Dance and Technology” is a course designed to inspire dance-major students to engage with diverse and dynamic technological flat forms and media. Art has been changed and re-imagined upon the development of technology, and dance has both influenced and been influenced by this technological shift. The course’s approach to dance and technology is inclusive and convergent: technology includes print, photo, film and video, computer, web, interactive media, motion-capture, IOT, and new media; dance includes art dance, non-art dance, pop culture, and performance. Thus, the course investigates not only the specific realm of ‘video dance,’ but also strict recordings of concert dance works, documentary films, media performances, web performances and so on. Overviewing these diverse phenomena combining dance and technology both synchronically and diachronically, as well as both theoretically and practically, it aims to envision the ontology and epistemology of dance in the era of technology. | |||||||||
| SKD5063 | Dance Pedagogy | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| This module assists students in developing a sound basis for their continued growth and effectiveness as professional dance teachers. Grounded in theories of holistic education, critical pedagogy, and reflective practice, the course integrates studio experiences, observation, theoretical inquiry and teaching practice to examine key values adhering to the noble profession of “dance teacher”. The module is divided into three sections and delivered as a team-teaching, in order to provide pedagogical studies on all three genres of Korean dance educational system, namely ballet, contemporary dance and Korean traditional dance. The formal pedagogies of each genre are delivered by the qualified and well-experienced professional teachers, and they all share a common objective of providing a strong teaching philosophy, which can be used for various levels of instruction, from pre-school to professional. In doing so, the course engages with the diverse academic approaches of dance teaching; for instance, analysis of dance technique, diagnostic teaching, educational psychology, kinesiology, psychology of adolescence, and social foundations of education. The module, thus, offers the students the opportunity to explore their teaching practice within an academic framework, each functioning as a problem solver, an effective researcher and an excellent communicator in various teaching environments. | |||||||||
| SKD5067 | Korean Dance Repertory Workshop | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| The purpose of this course is to understand the history and trend of Korean dance, and to form an art museum and values of individual traditional dance for workshop performance. Therefore, I would like to discuss the various forms and succession styles of Korean dance before the workshop performance. | |||||||||
| SKD5068 | Ballet Workshop | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| Ballet workshop class develops fundamental knowledge and understanding of the principles underlying classical to study the selected ballet work and to re-stage the pieces of work. | |||||||||
| SKD5070 | Socio-Somatic Research in Dance | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| Dance sociology introduces sociological theory and issues focusing on dance, performance, and choreography. | |||||||||
| SKD5075 | Laban/Bartenieff Movement Studies | 3 | 6 | Major | Master/Doctor | 1-4 | - | No | |
| This lesson focuses on the experience of Bartenieff Fundimentals (BF), a fundamental principle of Irmgard Bartenieff, who has focused on the human body and has developed a training phase of movement according to its developmental stages. It aims to expand body awareness through image training with more scientific body approach. Furthermore, they can improve their body's balanced development and physical self-awareness by recognizing their own physical problems and providing training methods to secure them. | |||||||||
| SKD5077 | Contemporary Dance Choreographic Workshop | 3 | 6 | Major | Master/Doctor | 1-4 | Korean | Yes | |
| This class is a process of exploring how to create a work based on the technique and the artistic tendency of the school. In particular, you will create a finished work through how you can share ideas with other students who have randomly selected the same class. And the presentation at the performer will be a basic experience to go to the field as a new artist. | |||||||||