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2005, Vol.15, No.15

  • 1.

    Dancer’s Body

    MalborgKim | 2005, 15(15) | pp.1~30 | number of Cited : 6
  • 2.

    A Study on the Satisfaction with the Composite Dance Program for the Elderly

    kim yul-hee | 2005, 15(15) | pp.31~48 | number of Cited : 3
    Abstract PDF
    This study is designed to stress the need of dance programs for the elderly people which can be a good physical activity and an art - cultural experience at the same time in an aging society The study also shows data on a satisfaction survey of a composite dance program. A composite dance program had been performed by male and female elderly people and they participated in ?a good health program? held in ?S? Welfare center for total 12 weeks. The composite dance program consisted of four parts - dance stretch, dance sports, folk dance and Korean dance. The data of general characteristics of the participants and the satisfaction degrees at organizations and contents of the composite dance program were collected and SPSS statistical program was used to analyze them. The findings are followed: First, the participants are satisfied with dance sports most, dance stretch the second, Korean ethnic dance the third and folk dance the fourth. They wanted to take the dance sports and Korean ethnic dance program again in the next term. Second, regarding the class hour, program difficulties, satisfactions in the whole program organizations and contents there are meaningful differences between sex. Third, there are differences of the females from male as to their interests and satisfactions with dance sports and interests, difficulties and satisfactions of folk dance. In the upcoming aged society, the study on the elderly people?s dance program has a critical meaning to improve healthy life and sound leisure activities. To activate these kinds of dance programs, it?s needed to develop various curriculum and foster professional dance instructors.
  • 3.

    A Study of Defining Children’s Dance Play in Preschool Education

    Haesung Kim | 2005, 15(15) | pp.49~76 | number of Cited : 0
    Abstract PDF
    This study is to present the propriety of Chumnori as to develope the teaching methods and programs of Chumnori and to develope Chumnori in the preschool education through establishing the terms and the concept of Chumnori which has differences from movement education. As a result, children?s ?Chumnori? doesn?t mean traditional dances, but, as a broad sense, it should denote ?the children?s play of rhythmical expressive activities? as the play form which is included in human plays. In other words, as the play of children founded on amusement, ?Chumnori?, which is the most human gesture derived from children?s instinct, is the physical activities accompanied with rhythm, the applied field based on the fundamental gestures of activities, and the expressive activities which include all kinds of dances that children can perform. Chumnori is essential for children?s education today and can be very useful as united education closely connected with other courses because children themselves feel interested by means of internalizing the learning process.
  • 4.

    Rewriting Cultural Nationalism in Contemporary Korean Dance

    Kim, Hyunjung | 2005, 15(15) | pp.77~98 | number of Cited : 0
    Abstract PDF
    Rewriting Cultural Nationalism in Contemporary Korean DanceHyunjung KimUniversity of California, Riverside, Ph.D.Lecturer, Sungkyunkwan University and the Korean National University of the ArtsNationalist discourses on Korean identity in relation to Korean ?tradition? have been reinvented at different times, in different forms, and with varying degrees of intensity in South Korea since the late nineteenth century. I locate contemporary Korean dance as a site of this discourse in the twentieth century and examine three major trends of cultural nationalims: spirituality-based anticolonial nationalism; redirected gendered nationalism; and aggressive, internationalized, global nationalism. My project demonstrates ways that contemporary Korean dancers (re)claim agency in creating contemporary Korean identity, and ways their choreography opens up a possibility for a bodily (re)writing of gendered and subaltern histories.Through careful readings of Kang Mi-ri?s 「Willow」, 「The Tree of Life」 (1996), Kim Young-hee?s 「Here Myself Alone I」 (1997), and Ahn Ae-soon?s Gut-Play (2001), I show how choreographers and dancers embody, theorize, and in some ways redirect this complex, layered history of (post)colonialism. I choose shamanism as a coherent thread throughout my paper because of its contentiousness in both colonialist and nationalist discourses, its precarious position at the juncture of tradition and modernity, and its meaningfulness as one of the essences of Korean identity. I also address the gendered context of Korean nationalism in the concert form of salp?uri, which is a precursor of Kim?s 「Here Myself Alone I」 and which is well known as a traditional Korean dance. Following Susan Foster?s idea of choreography, I choreograph the complex relationship between dancing bodies and crucial issues in cultural studies such as modernity, nationalism, (post)colonialism, and gender, toward multiple readings of each dance piece.
  • 5.

    A Study on the Marketing Strategy for Effective Planning of Dance Performance

    Kwon, Wook Dong | Mihyang Park | 장수정 | 2005, 15(15) | pp.99~121 | number of Cited : 11
    Abstract PDF
    A Study on the Marketing Strategy for Effective Planning of Dance PerformanceWookdong Kwon, Mihyang Park, and Sujeong Jang Professor at Daegu University, Lecturer at Daegu University,Graduate student at Daegu UniversityThis study was conducted with choreographers, planners and audience in order to find improvements and programs for effective planning and marketing of dance performance. The questionnaire was used as a method for the purpose of this study. The results of this study are summarized as follows;First of all, it is more urgent to raise the level of recognition so that the scope of audience who are now mainly limited to people who are studying or studied dance will be expanded and therefore that all citizens can understand dance and accordingly take an interest in it. To do that, dance performance should take popularity into consideration to make audience understood before its artistic level is considered from the viewpoint of a planner or choreographer. In addition, more opportunities to easily enjoy dance performance in a performance hall or outside should be provided to citizens. If these opportunities will make citizens understand dance performance and visit performance halls to enjoy it, ticket sales of dance companies will increase, and therefore their financial problems will be solved to some extent. Furthermore, the quality of dance performance will be ungraded thought various studies focusing on audience since financial problems relating to choreographers will be solved.This study also showed that customer management is a more important factor than the existing marketing variable factors. It is obvious that a better dance performance will be created because points to be made up for in a next dance performance can be found if after a dance performance ended it is evaluated not by those concerned with it but together with audience to listen to their various opinions.
  • 6.

    The Artistic World of Kim Paik-bong

    Ahn Byung Ju | 2005, 15(15) | pp.123~151 | number of Cited : 2
    Abstract PDF
    The Artistic world of Kim Paik-bong?sByeongju AhnProfessor, Kyunghee UniversityCollege of Arts and Design schoolBy proactively embracing our precious traditions along with the will of modernization, this study was intended to firm up the identity of Korean newly art dance as an art category, and rehighlight the artistic world of dancer Kim Paik-Bong who contributed to establishing Korean original dancing repertoire.In view of Korean dance history, the significance of his art works and performance activities can be outlined and arranged as follows:First, Kim turned from just taking over her mentor Choi Seung-hee?s artistry toward making his own artistic world successfully, which has a tremendous influence on building up the fundamental forms of modern Korean dance.Secondly, she made a great contribution not only to establishing the basic choreography of Korean dance but also to widely propagating the inherent training skills and creation techniques of Korean dance through corresponding study and development in depth.Thirdly, her 「Buchae-chum(Fan Dance)」 and 「Hwagwan-mu(Crown Dance)」 were often performed overseas as the main repertoire of our International Cultural Mission in both 1960?s and 1970?s. With these opportunities, she actually played a major role in revealing the excellence of Korean performance art around the globe.Fourthly, as both artist and educator, Kim tried to nurture the younger generation in a series, which has contributed to producing many talents for our contemporary Korean dance world.Finally, her original study on choreographic record system such as notation of 『Bongsan Talchum』 can be valued as a major achievement in the academic aspect of Korean dance and choreography.
  • 7.

    A Study on the Meaning and Method of 'Diagnosis' in the Progress of Movement Therapy - Based on the Theory of Liljan Espenak -

    원상화 | 2005, 15(15) | pp.153~177 | number of Cited : 4
    Abstract PDF
    A Study on the Meaning and Method of ?Diagnosis? in the Progress of Movement Therapy- Based on the Theory of Liljan Espenak -Sanghwa WonLecturer of Daejon University.Movement/Dance therapistAdler regarded the basis of physical behavior as the pursuit of superiority, that is, desire to progress from the bottom to the top and from incompletion to completion. He understood the principle of human life from the viewpoint that mind imagines a direction of life and the body actualizes it in the realities of life. L. Espenak, a representative movement therapist, was affected by Adler who devoted to understanding behavior(life) in interaction between the body and mentality. L. Espenak understands the body as the actor of expressing the inner world. It is the basic principle of her movement therapy to overcome psychological imbalance by leading improvement of an expressing way and a physical position, and she called her movement therapy Psychomotorik treatment.Espenak measured elements lacking in the body and movement by observing movement. She intended to define effect of treatment by planing treatment and describing results of treatment through this evaluating instrument. Espenak already researched diagnosis ad plan in the university organization in the 1960s by systematizing a step of treatment. However, ?diagnosis of movement? in the progress of movement therapy is still recognized as a strange field in Korea. This study examined Espenak?s diagnosis method of movement based on a meaning and method in the progress of movement therapy. Also, it evaluated strong and weak points of Espenak?s diagnosis.This study will be used as materials for diagnosis of special fields in clinic for the future and requires continuous succeeding studies measuring its practicality and reliance. Also, development of supplemented and modified diagnosis method remains a question considering controversial points of the above diagnosis.
  • 8.

    A Study of Dongrae Hanryang Dance

    윤여숙 | 2005, 15(15) | pp.179~199 | number of Cited : 3
    Abstract PDF
    The purpose of this study is systemical arrangement and record of Dongrae Hanryang dance which is performed by Dongrae prodigal in scientific dimension. Dongrae Hanryang dance is a branch of Dongrae Dut-bagi dance developed with each different quality namely big gentle and dynamic motion, powerful step etc. Dongrae Hanryang dance is previous play of Yangban dance, Huhtoon dance, Yip dance of Dongrae-yaryu. It becomes the basis of male dance offhandedly performed by Hanryang in partyroom. Hanryang dance perfored by Yangban has harmony in inner resources, temperance and naive emotion. Dongrae Hanryang dance that it researches the principle of male dance as good data it has the value, became feed because is a dance which keeps the element where become the soil of male dance. The feature of Dongrae Hanryang dance is 1. It has brief emotion of Kyungsang do, also keeps inner resources and dignity. 2. It has big gentle and powerful motion with well-balanced nature. 3. Ctirls sit in company with Hanryang elevates the mood with performs dance. 4. It has offhandedly nature with each different quality. 5. Baegim-sawi and Ssangbaegim-sawi is ellent thing on basis of Dut-bagi dance. Traditions is namely marked idiosyncrasy of national culture must be preserved in long historical space time with our racial enternal value. And the research of traditional folk dance accomplished by dance theologist is deeply varified, the function of emotion purification, harmony and balacing effect, artistic expression of national emotion and also psychological treatment, well-being effect of dance are hopefully used and amticipoted.
  • 9.

    A Study on the Basic Framework of Choreography Style

    lee mi yiung | 2005, 15(15) | pp.201~234 | number of Cited : 0
    Abstract PDF
    The most important factor among the fundamental works deciding the style of the production would be form and contents of the movements. A number of dancers and choreographers have desires of expressing their inner world as a theme and through styles of movements. Since dancing is a form of art expressing the inner desires through such styles, choreographers, upon deciding their intentions and concepts, require a choreographing method which serves as logical foundations to convey their ideas.Consequently, in an attempt to examine the choreographing method, this study focuses on the choreographing styles of exemplary choreographers in three divisions. Viz., the vast fields of choreographing styles cannot be completely covered, and the styles are contrasted in three classifications of ?movements,? ?images,? and ?messages.? The representative choreographers and their works are Jiri Kylian?s 「Road to the Stamping Ground」 for movement, Lin WhaMin?s 「Moon Water」 for image, and Maguy Marin?s 「May B」 for message.The works were selected among the prominent productions which are on show since 1980s until now. For the research, analyses on concert pamphlets and video clips were undertaken. The analyses were not made on the choreographers: their spirit or life, but with a focus on the choreographing styles only.Through such research by classification of choreographing styles not only produces a methodology which serves as a criteria to critique for the students learning dance, but has its significance in suggesting a simplified organizational structure of free-will to verify the overall choreography field as a training in aspects of education and aesthetics.
  • 10.

    A Study on the Identity of Eastern Women Represented in the Works of Ruth St. Denis

    정옥희 | 2005, 15(15) | pp.235~264 | number of Cited : 1
    Abstract PDF
    루스 세인트 데니스(Ruth St. Denis)의작품에 나타난 동양 여성의 정체성정 옥 희이화여자대학교 무용과 대학원 졸인간 신체의 움직임을 표현매체로 삼는 무용예술은 무용가 자신의 정체성을 가장 직접적으로 드러낼 수 있을 뿐 아니라 타인의 정체성을 재현하는 데에도 매우 효과적인 매체이다. 그러나 타인에 대한 재현 자체가 가지고 있는 한계점을 고려한다면 무용을 통한 재현 역시 타인에 대한 단순화와 전형화, 그리고 왜곡을 피하기 어렵다.본 논문의 목적은 이처럼 纛聆侵에 따른 정체성의 문제에서 출발하여 미국여성 현대무용가인 루스 세인트 데니스(Ruth St. Denis)의 작품에서 재현된 동양여성의 정체성에 대해 논의하는 것이다. 데니스가 재현한 동양여성은 당시 유행하던 살로메 풍의 동양여성 이미지와는 많은 부분 비슷하면서도 새로운 측면이 강조되었다고 여겨지고 있다. 따라서 본 논문에서는 그녀의 작품에서 재현된 동양여성을 분석함으로써 그 정체성은 과연 무엇이고 구체적으로 어떠한 이미지로 재현되었는가를 논의하고자 한다.본 논문은 데니스의 대표작품인 「라다(Radha)」, 「검은색과 금색의 사리 춤(Dance of the Black and Gold Sari)」, 「백옥(White Jade)」을 대상으로 분석함으로써, 각각에서 寗?(性)과 성(聖)이 결합된 존재?, 捻@舅? 휘감은 신비로운 존재?, 柰諮鄂構? 다가갈 수 없는 존재澾遮? 이미지를 끌어낼 수 있었다. 그리고 이러한 이미지들이 모여 형성된 동양여성의 정체성은 바로 耐旋ㅐ岵? 여성의 권위(positive female authority)澾箚? 할 수 있었다. 기존의 서양사회에서는 동양여성의 정체성을 서양남성의 열등하고 주변적인 타자로 인식하고 호기심과 두려움의 관점으로 바라보았다. 그러나 데니스는 동양여성의 정체성을 긍정적이고 이상적으로 바라봄으로써 중심적인 존재로 끌어올렸을 뿐 아니라 서양이 따라야할 이상형으로까지 보았던 것이다.데니스가 작품에서 재현한 동양여성의 정체성은 기존의 부정적 인식에 균형을 잡아주었으며, 이를 추구하는 과정에서 서양여성의 정체성 및 무용예술의 지위를 향상시킨 의의가 있다. 그러나 이러한 새로운 정체성 역시 기존의 개념만큼이나 극단적이고 비현실적일 뿐 아니라 나아가 서양여성이 동양여성을 대변할 수 있다는 태도를 취한다는 점에서 서양중심적 사고에서 벗어나지 못한 한계가 있다.