The Korean Society for Dance Studies(KRSDS) started in 1998 as the academic department of World Dance Alliance (WDA) and developed as one of the representative dance organizations in South Korea. KRSDS has approximately 800 members and 85 members of board of directors nationwide. KRSDS publishes The Korean Journal of Dance Studies (ISSN 1226-900X / e-ISSN 2713-9468) KRSDS has contributed to promote the development of dance theory and foundation for dance research in South Korea. The Korean Journal of Dance Studies has been selected in Korean Citation Index(KCI) by National Research Foundation of Korea(NRF) since 2011. KRSDS has held several international conferences. The guest presenters KRSDS has invited include scholars such as Ann Hutchinson Guest(Dance Notation Expert), Deborah Jowitt(Dance Critic), Gerard Mayen(Dance Critic), Tatsuro Ishii(Dance Critic), Kajuko Guniyoshi(prof. at Waseda Univ.), Jang Lin(Vice president of Shanghai Theater Academy), Nuki Shigeto(prof. at Sensyu Univ.), and so on.
The purpose of this study is to give suggestions for the restoration of Gupabal Sandaenori. Sandaenori means a mask dance which played at central districts in Korea. Currently handed down to Korea are Yangju Sandaenori and Songpa Sandaenori, as well as Toegyewon Sandaenori and Aeogae Sandaenori which have been reorganized today. Although Gupabal Sandaenori is not currently undergoing restoration work, there is a growing interest in its restoration. Thus, This study interviewed an elderly artist, a traditional performance researcher, and a new traditional performer.
The results of this study shows that first, continuous literature research is needed through the government’s policy support. Second, this study proposes the expansion of Sandaenori into a festival rather than restoration. Third, it is necessary to produce a modernized stage of Sandaenori. Fourth, it must be provided through various school education programs. Fifth, Sandaenori dance should be emphasized. Sixth, it should be developed with various contents that young generation can relate to and identify with.
The purpose of this study is to examine the fantasy in the 19th century Romantic Ballet by paying attention to the romantic fantasy of dance works and C. G. Jung’s collective unconscious theory. By discussing the structure of the human psyche projected in the works, I suggest that ballet is a meaningful symbol of the process of self-realization of the integration of consciousness and unconsciousness. Ballet has long been recognized for its value in both historical and aesthetic terms, while a sociological perspective that raises questions about existing aesthetic perceptions has emerged through criticism in the late 20th century. However, this study, which illuminate the unconscious, is a more thorough interdisciplinary study that links the typical structure of classical ballet with the essence of the universal human mind, thereby providing a theoretical basis for illuminating new interpretations and meanings of ballet as an art.
In order to study the surrealism in the Family Trilogy of the Peeping Tom Dance Company, this research centers on the video materials and literature materials of these three works. The Peeping Tom dance troupe in this study has been conveying a certain message to the audience through a surreal expression. The work ｢Vader｣ expresses the real human heart and the surrealism of desire through the combination of realistic and non-realistic dream scenes. ｢Moeder｣ also uses the combination of reality and non-reality to create a dream-like stage atmosphere. In addition, the work ｢Kind｣ also makes use of irrational violent scenes to show the audience an irrational surrealism stage scene that breaks away from moral constraints. This examination illuminates the Family Trilogy has the characteristics of surrealism, and also reflects the influence of surrealism on the style of dance works and has long-term significance for future dance creation.