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2004, Vol.14, No.14

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    Bodily Intelligence Theory by H. Gardner and The Position and Difection

    JuJa Kikm | 2004, 14(14) | pp.73~94 | number of Cited : 2
    Abstract PDF
    This study was aimed to suggest reasons why dance eduction should be separated from physical education and why the direction of dance education should be considered as a symbolic activity. To solve these problems the bodily intelligence theory byHoward Gardner was analyzed. Gardner insists that bodily intelligence is an independent ability like linguistic or logical-mathematic intelligence. This idea is supported by many theories such as neurophysiology, anthropology and developmental psychology. Bodily intelligence can be used and developed in activities of dancers and athletes, but they are completely different areas, like novelist and lawyer who are entirely different each other in the linguistic intelligence. Dancers use action for their symbolic representation and athletes use it for their functional reason. In this point dance as a symbolic activity is separated from physical education of which main activity is sports or game. Until recently dance education has been considered as emotional activity. But when we follow the idea of Gardner it should be directed to symbolic activity.
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    A Comparative Study on the Dance Art and Achivement of Louis 14 and Prince Hyo-myoung

    나일화 | 2004, 14(14) | pp.95~118 | number of Cited : 7
    Abstract PDF
    This study has compared the dancing art and achievement of Prince Hyo-myoung and those of Louis XIV. This study could be performed on the assumption that there were many similarities between their political background and the achievement of dancing art. Both Louis XIV and Prince Hyo-myoung had their political purpose of strengthening the power of king in the socially chaotic period. Both of them made use of the dancing as a tool for strengthening the power of king; as a result, French court ballet and Chosun's court dance have been developed tremendously. Their dancing art has been used not only as a political tool, but also as a fundamental system for the dancing itself so that the dancing has become an art genre with fantastically aesthetic aspects. The comparison between the two aforementioned persons can be made briefly as in the following: first, the dancing art had political implication. Second, both of them have contributed to the development of dancing art. Lastly, they designated talented people such as Lully and Kim Changha. However, even if Hyo-myoung had the aforementioned political background and fantastic achievement in dancing art similar to Louis XIV, he has not been evaluated properly. In the rapid age of globalization, we will be aware of our culture that can be equivalent to western counterpart and develop it. In this regard, I hope that my comparative study on dancing art between Louis XIV and Prince Hyo-myoung gives us an opportunity to be familar with our culture and to have confidence.
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    A Study on the Funtion of the Korean Dance Cultural Inheritance and Data Center In the Future

    성기숙 | 2004, 14(14) | pp.119~142 | number of Cited : 2
    Abstract PDF
    International interest in cultural assets recently tends to focus on intangible culture. In this light, attention needs to be drawn to the inheritance of Korean dance, which is a kind of intangible culture. Korean dances should be valued largely from the perspective of an intangible dance cultural asset and a modern dance cultural asset. The dance cultural assets must be recorded and preserved, since dances will become extinct some day. It calls for the state to establish a performance artistic archives where dance cultural assets can be arranged and preserved in a systematic manner. In addition, a comprehensive system for managing performance artistic materials should be set up on the national level so that dance cultural assets may be identified, collected, and preserved on a systematical and permanent basis.
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    A Study on Bosangmu Jeongjaedo

    손선숙 | 2004, 14(14) | pp.143~166 | number of Cited : 5
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    A Study on the Femme-Fatal Image Shown in Modern Dance of the Early 20th Century

    ji-won Lee | 2004, 14(14) | pp.167~210 | number of Cited : 4
    Abstract PDF
    Femme-fatal as a sensual existence advent in late 19th century, infers that sexual desire of man comparable to the thing can not be excluded. Therefore, the feminity of femme-fatal signifies the group illusion of male's point of view which reflects the distorted concept of man and lack of true understanding to the woman. It implies that the distortion of feminity is caused by man's sexual depressed thought. This study shows three results which demonstrate the characteristics of femme-fatal performed in 20th century dance. First, the extension of concept of the woman gender, which provides the basis to escape the limited concept which is established for the woman. Second, expression of intention for the 'induction of looking' which means the producer induces the man's point of view with his will. Third, the recovery as an independent which imply that different from artist or novelist, woman choreographer can reflect the image that is cleverly distorted woman image by the customized man's fixed thought. It transform the woman's image to the independent one which do not need the man's help or acceptance. Although femme-fatal advent in the world as the adversed image at the first, with the re-interpretation by 20th woman choreographer can provide the chance to consider the present situation that the man's violence and depression was existed. With that awareness we can reveal the real male ideology which is covered by illusion of man and propose that the real female sex have to be defined again by woman choreographer to provide right image of woman. This study presents the possibility to disarm the taboo of femme-fatal woman image.
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    A Comparative Study of Exercise Intensity, Energy Expenditure and Blood Lactate Concentration in Walz, Tango, Viennese Walz, Foxtrot and Quickstep1. -Focused on Modern Ballroom Dance-

    정미송 | 2004, 14(14) | pp.249~274 | number of Cited : 0
    Abstract PDF
    The evaluation of the exercise intensity of five different types of modern ballroom dance sport and the effects of long-term modern ballroom dance sport lesson on the changes of cardiopulmonary function were performed, and eventually the baseline data for the modern ballroom dance training program were offered. Twelve male and female college students who majored in dance sport and belonged to dance sport clubs were designated to the trial group. The effects of 10-week dance lesson on various physiological parameters and endurance properties were evaluated with a portable gas analyzer and some devices for blood analysis on the trial group. In a 5-minute dance sport performance, mean values of exercise intensity were 56.9±12.4% of VO2max and 70.7±8.8% of HRmax. Among those 5 types of modern ballroom dance sport, exercise intensity was high in Viennese Waltz, Quickstep, Waltz, Tango, Foxtrot in a corresponding order. The mean value of exercise intensity, 56.9±12.4% of VO2max, in all tested types of modern ballroom dance sport can be interpreted as that the modern ballroom dance sport may used as medium intensity exercise for the improvement of endurance capacity for health and physical fitness. However, it is imperative that the training programs made in consideration of the physical fitness of each subjects should be adjusted case by case since there are non-negligible differences in exercise intensity between five types of dance sport studied.
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    A Study on Erick Hawkins' Movement Principles Which are Applied Ideokinesis

    Cho, EunSook | 2004, 14(14) | pp.275~290 | number of Cited : 3
    Abstract PDF
    Ideokinesis is a method of visualizing movement. The basic principles of Ideokinesis were identified by Mabel Todd during the early 1900s. Using Kinesthetic imagery, Ideokinesis facilitates correct alignment and eliminates body pain. Also, it encourages creative movement exploration. In 1960s there are many post modern dancers who applied Ideokinesis to dance. But earlier than that time, Erick Hawkins who was a choreographer applied Ideokinesis in his movement principles. He emphasized movement qualities in his technique and choreography. He favored the movements qualities which are gentleness and ceremoniousness. He and his dancers studied with Andre Bernard who is a teacher of Ideokinesis. Then, Hawkins used kinesthetic imagery in his technique class. His main concern is that the muscles should lengthen softly through proper imagery, using gravity. The study illustrates how Hawkins applied Ideokinesis to his movement principles. And his movement principles are explained.
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    A Study on the Origin and Artistic Characteristics of the Dong-Rea Crane Dance

    한지현 | 2004, 14(14) | pp.291~312 | number of Cited : 4
    Abstract PDF
    Korean folk dance changes according to local feature, climate influence, geographical conditions and social, historical situation of the times. Dong-Rae Crane Dance is also originated with nature and history, society, and cultural background of Dong-Rae area, and it is a folklore dance that the characteristic temper of Dong-Rae people is expressed in dance movement to give off composed and rich flavor. I intend to seek the legitimacy of Dong-rae crane dance through the study on the origin and artistic characteristics represented in this Dong-rae crane dance. I looked into the aesthetic characteristics appeared in the dance movement of Dong-rae crane dance. First, as the figure of Yangban(nobleman) who wear white Dopo(korean full-dress) and black hat symbolized the shape of crane, there are symbolism and physical beauty with natural beauty. Second, since the appearance of life in the general common people was expressed, it has richness and unrefined beauty. Third, there is an elegant beauty with composure and grace of prodigals enjoying and dancing according to the slow rhythm of 4 beat. Fourth, we can feel delicate coquetry beauty in the uvula play exposing with breathing and the movement of dance expanding and contracting knees up and down in expression of the crane movement. Fifth, through the characteristics of popular Daedong-noli, we can find liberty and impromptu with excitement and interest through Baegim gesture, seen in the process and the climax of a dance to let all villagers participate together in the dance. As mentioned above, Dong-Rae crane dance is generated with nature, climate, history, and cultural change of Dong-rae area. Unwinding freely and impromptu the picture of the lives of people, giving shape to the movement of crane, and it includes the sense of beauty containing the refined and sophisticated sublimating beauty out of the category of a simple folk dance.