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2004, Vol.13, No.13

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    An Application of the Yin Yang and Five Elements Theory to Seung-Moo Movement Analysis

    김지희 | 2004, 13(13) | pp.27~50 | number of Cited : 4
    Abstract PDF
    The purpose of this study was to establish new analysis methodology for Seung-Moo movement based on the Yin-Yang and Five Elements theory. The following two were characterized as the result of this study: 1. The system of principle of movement with synergy relationship represented as follows. a) It represented a gradual moving line so that breathing is also gradually changed in several types. b) Every movement is intended toward same direction in space. c) The flow of movement is directed into Taekuek line. 2. The system of principle of movement with mutually destructive relationship represented as follows. a) It seems a dynamic form of movement because the range of movement is large. b) It would not represents natural Taekuek line. As a results of this study, the newly developed analysis method can be applied to choreograph as well.
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    A Study on the Characteristics of Pina Bausch's Choreography

    kim hyun nam | 2004, 13(13) | pp.51~72 | number of Cited : 2
    Abstract PDF
    The purpose of this study is to analyze the characteristic of Pina Bausch’s choreography shown through review of her main dance works. Since she was appointed as an art director of Wuppertal Tanz Theater in 1973, she introduced a new form of modern dance, called Tanz“Theater”. She has been highly evaluated due to her works which contain the combination of German Expressionism with American Modern Dance. As a result of this study, a characteristic of her choreography is as follows; Firstly, she introduced a new form of expressionism, which focused on the impromptu elements of a play. Secondly, she made the dance come out of the narrow-defined "choreography" and expanded the field of dance by introducing a film technique, “Montage” into dance. Thirdly, she tried to deliver an unique auditory image to audience by combining various genres of music in her dance works. Fourthly, She expressed situations in her dance works more realistically and concretely by using a language as a theatrical element. Finally, she utilized usual movements rather than specific dance techniques, by combining and transforming objective images and movements which a body can experience in everyday social life. Pina Bausch tried to break from the typical dance form and develop her peculiar expressionism. Her creative spirit presents unlimited possibility to choreographers and encourages them to make new forms of modern dance.
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    Developments of Korean Dances in the Emancipation Period(1945-1950) and their Historical Significance

    성기숙 | 2004, 13(13) | pp.97~142 | number of Cited : 3
    Abstract PDF
    This thesis is aimed to investigate into the developments of Korean dances in the special period in the Korean history or the emancipation period (1945~1950) and their historical significance. Korean dances had experienced many changes in that period. Since the emancipation of Korea, the conflicts between leftists and rightists had direct influence on the developments of Korean dances. Immediately after the emancipation, various dance organizations had been formed including the Headquarters for Constructing Joseon Dances and the Association of Joseon Dances and Arts. All of these organizations were started as a sub-organization of many cultural and artistic bodies serving the ideological lines of leftists and rightists. Remarkable things at the time of the Korean emancipation include the incident that Seung-hui Choe and Teak-won Jo, who were renowned as new dancers at the period of Japanese forceful occupation of Korea, left the Korean dance circles since they were branded and criticized as pro-Japan dancers. Then, the Korean dance circles lacking in superior dancers was led by fresh dancers such as Gwi-bong Ham, Dong-in Han, Chu-hwa Jang, Ga-ya Choe, and Ji-su Jeong. However, the Korean dance circles were faced with an interregnum when most of the above fresh dancers went to North Korea during the Korean War. Noteworthy dance activities at the emancipation period were displayed by Gwi-bong Ham's Research Institute for Joseon Education and Dances, Dong-in Han's Seoul Ballet, and Cheol-min Mun's dance criticism whose professional comments were the pioneer in that field. Korean dances at the time of the emancipation had such historical significance that various dance organizations were formed to encourage the solidarity sense of dancers, raise the voice of dances towards the society, and paved the way to the system of dance education and criticism.
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    Strategic Marketing for dance Organizations

    양윤영 | 2004, 13(13) | pp.143~164 | number of Cited : 0
    Abstract PDF
    20년 동안 예술의 길을 걸어온 무용인으로서 그리고 공연예술을 전공한 사람으로서 본인은 예술의 미학성과 예술경영의 상업성 사이에서 갈등하는 현 무용계에서 예술 마케팅이라는 지침서를 내놓고자 하였다. 예술가의 예술적 세계가 관객에게 감동을 주게 되는 과정을 만들어주는 것이 예술경영이다. 예술경영에 있어 본인이 내놓은 무용예술기관 및 단체를 위한 마케팅은 예술의 진리에 화두를 두고 상업성을 배재하기 이전의 자리에서 연구되었다. 무용예술 소비자들의 욕구를 함께 고민함으로써 무용예술계의 문제점과 나아가야할 방향을 모색하고, 영리추구만을 목적으로 하는 것이 아닌 무용예술수준을 높이면서도 많은 관객을 동원할 수 있는 즉, 공연의 예술성이 변질 없이 관객에게 전해질 수 있는 과정을 찾아봄으로써, 보다 많은 사람들이 공연에 참여할 수 있고 관객과 예술이 대화할 수 있는 공연이 되길 바라는 매게체로서의 예술경영 마케팅을 내놓았다. 우선 공연예술 기관들의 마케팅 책임자들 및 예술경영 전문인들과의 인터뷰를 통해 현 무용예술계의 문제점을 찾아 해결방법을 모색하고, 이를 바탕으로 뉴욕에서 상영되고 있는 어프 브로드웨이 공연 중 대표되는 무용예술 공연 20개를 골라 관객들의 예술적 취향과 마케팅의 경로 및 무용예술 공연이 나아가야 할 방법에 관한 설문지를 배포, 347명의 의견을 수렴, 분석하였다. 이 분석을 바탕으로 무용예술기관 및 단체를 위한 마케팅 방법을 구축, 실제로 NGO 무용예술기관에 6개월이란 기간동안 예술 마케팅 모델을 적용, 그 효율성을 확인하였다. 마지막으로 무용예술 공연의 문제점과 무용예술계가 나아가야 할 방향으로 공연예술을 비즈니스화 할 수 있는 감각을 제시하는 것으로 글을 마감한다.
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    A Study on Dancing Program fot the Development of multiple Inteligence

    ji-won Lee | 2004, 13(13) | pp.165~192 | number of Cited : 8
    Abstract PDF
    The purpose of this study is to suggest the dance programs of a theme-based integrated organization according to the Multiple Intelligence Theory by Howard Gardner. The weekly programs are for 7 years old kindergarten students with educational activities and interesting topics which include creation, production, announcement, thinking, listening, drawing, measuring and movement, etc. The findings of the research provide useful information on desirable integration strategies for teaching children. Theses dance programs are expected to provide child-centered learning activities that focus on children’s interests and real-life problems or issues. Thus this study shows that such a program has a positive influence on the development of multiple intelligences to children by dance class.
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    A Study on the Systematic Ballet Program as Special Ability Education for the Pre-School Children

    정희자 | 2004, 13(13) | pp.233~252 | number of Cited : 1
    Abstract PDF
    This study investigates the necessity of dance education as an art education for the pre-school children and suggests the R.A.D. program as a systematic and efficient dance education program. R.A.D. program is suggested by the reasons as follow : First of all, it is very systematic and has step-by-step education structure. Second, it has been widely adopted and further developed as a ballet education program for the children by many countries. Third, the program begins with and emphasizes the very basic body movement training before it deals with any ballet steps or techniques. It is specially important for the young children to develop the flexibility and the sense of balance. Overall, the dance education as a special ability education for the pre-school children through the R.A.D. program will make it more likely for the children to enjoy dance through their lifetimes. Furthermore, it will be easier to find the gifted children in dance through the program.
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    A Postfeminist Approach for Analysing Contemporary Korean Dance

    CHOKISOOK | 2004, 13(13) | pp.253~274 | number of Cited : 3
    Abstract PDF
    Western feminist writers have written much on dance and how it both reflects and comments upon institutionalised gender inequality and the imbalance of power. This relationship between practice and its ideological underpinnings is particularly pronounced in discussions on ballet. For example, Melbourne Goldberg (1987), in her examination of the representational politics of the pas de deux argues that, as demonstrated by the ways in which the male dancer manipulates his female partner, the ballerina’s dancing is crafted in order to appeal to a‘male gaze’. The historical approach and unquestioning dualistic rhetoric of feminist scholarship on dance has, in recent years, been criticised by Western post-feminists such as Sally Banes and Alexandra Carter. Banes, for example, points to what she sees as three problematic areas in previous feminist analyses of ballet. First, a failure to acknowledge the socio-historical context of the fairy or folk-tale narrative structure. Second, a politically inspired stress on reading female representations according to positive or negative models. Third, an unquestioning adoption of the psychoanalytic model of‘the male gaze’. Many of the key precepts advocated in this recent feminist discourse were reconsidered in this article where two Korean dance works were analysed: Kkocksin (1999) by Sang-gun Han and Pallae (1993) by Jeong-ho Nam. My method focuses on the dance as ‘text’, a materialist approach which, I claim, not only considers the socio-historical context but also avoids essentialist rhetoric.