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2008, Vol.25, No.25

  • 1.

    Probability of the Acceptance of the Ideology of Deleuze for the Aesthetic Discussion of Dancing - Focusing on ‘Body without Organs’ shown in the works of Pina Bausch -

    MalborgKim | Ilhwa Na | 2008, 25(25) | pp.1~31 | number of Cited : 7
    Abstract PDF
    This study aims to propose grounds for identifying the meaning of a temporality and momentary movement as well as the subversion of a negative bodily trait through the ideology of Gilles Deleuze, and to discover the probability of accepting them in the discussion of dance aesthetics. The acceptance of the ideology of Deleuze in the discussion of dance aesthetics implies that art, philosophy, and science are poised in equivalent positions within his ideology. Also, the subversion of Platonism, Spinoza’s immanence, and Nietzsche’s univocity all of which form a main axis of the philosophy of Deleuze, may be an important topic also in the aesthetic discussion of dance. The study pursued a discussion focusing on the concept of ‘Body without Organs’ by Deleuze, shown in the work of Pina Bausch. Deleuze’s ‘Body without Organs’ stemmed from Artaud, a famous playwright of the theater of cruelty. Pina Bausch also expressed the theater of cruelty of Artaud in his works; thus, they are mutually related. Moreover, both Deleuze and Pina Bausch share the same background of times, namely, post-modernism, and they have in common compositions and choreographic characteristics. Preceding studies that have discussed dancing art by applying the ideology of Deleuze haven’t been actively pursued relative to other art areas. Furthermore, the dance area also has merely introduced the theory of Deleuze, or has made a superficial initial application of the theory. However, this study is meaningful as it revealed the correlation between the ideology of Deleuze and dance art, selectively introduced his concept acceptable to dancing aesthetics, and advanced discussions in terms of the choreographic process and composition of dancing works, and expression of movements based on the research results.
  • 2.

    A Study on the Audience`s Flow Experience and the creativity

    김현남 | 2008, 25(25) | pp.33~51 | number of Cited : 6
    Abstract PDF
    Like a movement pattern of exertion and recuperation human being's daily lives are composed of the cycle of work and rest, which has been and shall be continued due to their pursuit of better quality of life. Today's performing arts have been quantitatively expanded thanks to increased number of audiences who wish to enjoy them as recreation and rest. However, compared to great strides of other performing arts such as popular musicals, bigger concerts and synthetic performances dance performances are being threatened in terms of competitiveness to induce audiences. Most of preceding studies on audiences for dance performances have been done using a kind of marketing approach by regarding audiences' seeing of dance performances as consumption behaviors, categorizing its motives and linking them to existing life styles. In order to create and maintain audiences for dance performances, however, this study intends to understand what is happening to audiences 'here and now' prior to set-up of effective marketing strategy,. This study adopts a concept of a "flow", which was called for a state of complete absorption or optimal experience by Dr. Mihaly Csikzentmihaly out of his theories on recreational activities in order to (1) find out reasons why audiences for dance performances visit the performing theaters despite that they cannot be substantially and directly rewarded from their point of view and (2) inquire into audiences' psychological change process. There exists a psychological experience which regards being completely involved in a certain activity as a reward and if we call such kind of psychological status a "flow", a certain level of the challenges and the skill of the audiences are required in order for them to realize such flow while they see dance performances. In the meantime, considering that creativity as a thought process is a capability to create something new and appropriate it has an inseparable relationship. In ancient times creativity has been divine nature, but today it has a meaning of art performing activities and can be explained as a thought process mechanism, which is human being's universal capability. In this regard, audiences' creativity should be comprehended and explained. Audiences, while seeing dance performances, can realize a status of complete absorption, i.e. a "flow" which is not a material reward but a purpose itself, which is inevitably accompanied by creative activities. And it can become a foundationfor bona fide communication between performers and audiences by understanding the roles of audiences who actively create meanings rather than who passively admit meanings included in the performers' works. In addition, this study intends to emphasize that a balance must be struck between the performers' creativity and audiences' comprehensibility in order to create and reinforce motives to see dance performances by maximizing audiences'status of complete absorption and creativity.
  • 3.

    The Development of Creative Dance Program for Specialty and Aptitude Education on Elementary School Students - from the Viewpoint of Modern Dance -

    Nam Jin-hee | 2008, 25(25) | pp.53~79 | number of Cited : 2
    Abstract PDF
    The purpose of this study is to develop creative dance program which is phased, gradable, self-leading for specialty and aptitude education, and which consists of four steps for the elementary school students. The specialty and aptitude education is the program for mental and physical development of students in mutual relation with the curriculum. This study suggests the creative dance program as the specialty and aptitude education for the goal of mental and physical nurture, and development of personality and nature. The creative dance program is composed of for sections and twenty-one chapters. The four sections are understanding of creative dance, basic training, creative dance repertory training, and performance and appreciation. The characteristics of creative dance program is for students to be able to have phased, gradable and self-leading lesson step by step. The program has four steps. The first step is understanding of music, the second is basic training, the third is repertory training, and the last is performance and appreciation. These four steps are selectable according to the age and ability of students, and the situation of class. These results suggest that participating in the creative dance can contribute to the cognitive and physical development of children, and its effect is maximized when the creative dance program induces an active and voluntary physical expressions of children.
  • 4.

    Expressivity Inherent in Jose Limon's Language of Movement

    Ban,Ju-Eun | 김윤경 | 2008, 25(25) | pp.81~106 | number of Cited : 1
    Abstract PDF
    Modern dance which appeared in the beginning of the 20th century was a challenge to classical ballet as a form of art and signaled the advent of a new form of dance and concept of art. Dancers in the earlier period of modern dance when there was no systematic language of movement apart from ballet studied the language of movement as a means of communication through which to put their messages about artistic expressions across to the audience, and accorded their thoughts, emotions and meanings about creative acts. Each dancer has his own distinct way of communication in art. Accordingly, an artist giving life to works that he wishes to express and the meaning being exhibited is a matter of communication with the audience or viewer. What is considered important is whether or not the meaning has been conveyed as it was intended. Among various methods of expression, Jose Limon who concentrated on developing the dancer's own unique movements and dance language regarded movement itself as a fundamental principle and made new languages of expression focusing on new movements. The present study conducted research on the meaning of general artistic expressions and how Limon made characteristics of movements expressed in dance and methods of expression inherent in movements into unique artistry and methods of expression through communicating with the audience in his language. As a result, the study found out that based on "Fall and Recovery" theory, Limon made his own nine methods of expression as the result of the flow of energy caused by gravity, and the expressions reflected in his work express precision and boldness felt from characteristics of nationalculture and the human body, based on the essence from human experience. Likewise, in order to bring artistic expressions and its meanings to life, throughout his creative work, Jose Limon breathed his philosophy and the ideas he got from his mentor into his works and focused on basic structures of methods of expression. Until today, his movements are utilized as diverse methods of expressing movements from educational and creative perspectives, and it is valuable as a method that makes the human body movements the most efficientand precise.
  • 5.

    A Method to Foster Choreographer for Activating Creative Ballet

    Son Kwan Jung | 2008, 25(25) | pp.107~141 | number of Cited : 2
    Abstract PDF
    This research has a purpose to examine the method to foster choreographer who can create a work of an epoch and novelty, which Korean creation ballet has to pursue in 21 century. A choreographer who can pursue novelty in this research is defined as "a genuine creator", and I would like to derive educational method to instruct choreographer who can overcome the choreographer absence phenomenon. As a result, the direction of choreographer education in the aspect of curriculum operation in a higher education is as follows. ① Humanistic education is required to establish humane ground of choreographer in order to foster a creative choreographer in creative ballet. ② Phased technical education should be done in a movement technique education. ③ Education to improve expression ability needs to be enforced to form movement language. ④ The operation of curriculum to bring critical insight toward culture and society is required. Second the corelation between choreographer fostering of creative ballet and dance site could be suggested as follows. ① Activation of internship system can be driven from establishing relation with ballet company. ② As a direction to bring a choreographer who can lead activation of creative ballet up, a center for choreographers in a dance scene can offer environment for a choreographer to develop new choreography and to be retrained after graduation of university.
  • 6.

    Current Status of Dance Lectures for the Elderly and its Implications

    Ahn Byung Ju | Bae Su Eul | 김수진 | 2008, 25(25) | pp.143~160 | number of Cited : 6
    Abstract PDF
    This study brings forward the need for study of the elderly, the ultimate target for the school of dance to continuously pay close attention in terms of providing social education. Data analysis on the current status of dance lectures opened particularly for the elderly in seven different cities by regions and types revealed following implications. To begin with, review on regional distribution of dance lectures for the elderly did not disclose sufficient information to generalize where the dance lectures for the elderly stand. However, from the observation made on host institutions and the vigor of the industry, the essential basic elements in opening dance lectures, it can be concluded that collaborative improvement is imperative through mutual efforts. Next, lectures were categorized broadly into three different types; namely 'practical dance lectures,' 'dance-gymnastics lectures,' and 'Korean dance lectures.' Practical dance lectures amongst all were identified as the industry leader the most diversified presence. In addition, it is considered crucial to make efforts in creating lectures in connection with 'creative dance,' taking into account of the participants' dance career, their level of interest, and the lecture's degree of difficulty.
  • 7.

    Alvin Ailey’s dancing characteristics seen through Michel Foucault’s theory - focused on the analysis of Revelations (1962)

    이은주 | 2008, 25(25) | pp.161~185 | number of Cited : 0
    Abstract PDF
    This paper researched characteristics of Ailey’s dancing in the light of Foucault’s hypothesis who offered the theoretical framework; ‘a dancing body reflects and produces power and a culture.’ On the basis of this theory, firstly, the Ailey’s dancing characteristic is an emphasis on physical features through black people’s unique movements, which are the gestures of resistance. He put the black people to the fore in the dance world and established their identity. Secondly, it is faithful to the traditional gender roles of male and female. As the characteristics are expressed through the formation of dancers and their choreographs, and costumes and props, racial discrimination is expressed while at the same time double discrimination against women is inherent. One has to be reminded that the primary factor that made Revelations successful is the reflection of the traditional gender roles of male and female. Thirdly, it is the universality. The work of Ailey investigated the human experience among African Americans in the 1950s from the standpoint of universality and reflected it on the American society and its cultural life. This characteristic of Ailey’s dance well explains the Foucault’s theory; ‘a dancing body reflects and produces power and a culture’. In that generation, Ailey did modern dance based on folk dances, and it already contained racial and social ideologies in movements, themselves along with a double standard of black and white. Therefore, Ailey’s dance has to be understood in that social context. As he expressed various signs of political resistance, a musical ability and religious description through bodily movements, he endured the social injustice and furthermore conceptualized it as the dance document of the American culture. Here, the achievement of establishing the artistic world and the values through his works will shine.
  • 8.

    A Study on Sexual Expression in a Dance - Focussed on 「A Chain of Fish'」by Park Ho-bin

    EuiSook Chung | Kim, Joo-Hee | 2008, 25(25) | pp.187~215 | number of Cited : 2
    Abstract PDF
    To examine how sexuality is expressed in a dance, this study examines 「A Chain of Fish」choreographed by Park Ho-bin, in particular, homosexual scenes using Roland Barthes's two stage of signification as an analysis tool. An interview with the choreographer reveals how the subconscious layer of the society on sexual issues affect a choreographer's work. Park Ho-bin presents homosexual scene in the following manner. Firstly, dancers' movements are expressed specifically in gesture of embrace, kiss and caress rather than abstract movement. A vertical composition is formed through an act of taking off clothes, kneeling down or using a lift. Next, ordinary items such as a mobile phone, gift, bed are used as prop. Similarly ordinary clothing is used, portraying homosexuality as part of a daily life. Thirdly, the performance features a well-known homosexual icon, Hong Seok-cheon, to make the homosexual expression even more concrete. Lastly, pornographic images are inserted to control level of exposure and to convey a difficult issue of sexual intercourse concretely and directly. Park Ho-bin's choreography forms traditional power relation between men and women as dancers with a homosexual role present relationship in love, jealousy and betrayal. This intentional setting is presumably attributed to the choregrapher's position as an outsider to homosexuality. Gender is subconsciously demarcated in presenting a homosexual scene. In terms of Barthes's theory, the homosexual expression in 「A Chain of Fish」 adopts heterosexual relationship. A female side is dependent on a male side, fitting a conventional female mythology as a subject to lead a passive life. Considering that pornography is generally acknowledged as a collection of abnormal sexual acts, its insertion in the dance poses a risk of fixing perverse image of homosexuality. Possibly the choreographer ─ who is heterogeneous ─ over-emphasized sexual expression to overcome his own bias. The self-censorship Park Ho-bin mentioned during the interview is not so much about a personal issue as an influence from our society that is still conservative about sexual culture.
  • 9.

    Study on the Tendency of Art of Loie Fuller from the Viewpoint of Art Nouveau

    Cho, EunSook | 2008, 25(25) | pp.217~235 | number of Cited : 1
    Abstract PDF
    Modern dance among the dancing art has demonstrated revolutionary changes to the existing styles and was introduced to the USA and Europe at the end of the 1900's as a pet name of 'barefoot dance'. Escaping from the existing standardized ballet technique, it developed a new style technique and after throwing away corsets, dancers wore loose clothes and danced in their bare feet according to concert music, which aroused great revolution in those days. Modern dance attracted much interest in those days as a suggestion of new arts and a symbolic dance. As reformers of modern dance in those days, most books about dancing history mention Loie Fuller, Isadora Duncan and Ruth St. Denis. But unlikely as Duncan and Denis whose researches were made through various approaches as reformers of modern dance, Fuller is just mentioned simply. If we examine the dancing history, Fuller gave much influence to Duncan and Denis. By means of invitation of Fuller who had done activities in Europe, Duncan did provincial performance together with her. And Denis's stage technique was influenced by Fuller's work. Furthermore, she paid her respects to Fuller by making her work「Vale la Loie (Waltz for Loie)(1924)」. In documentary records, Fuller is mentioned either as a performer, an art director or an actor and even as an engineer, which makes us know that she had relationship in various genres. It seems that the reason for referring to Loie Fuller(1862-1928) as various modifiers is because the art pursued by her was not limited only to the genre of dance but she pursued illusion through general arts using lighting and clothes. Fuller's epochal works using lighting and colors had great success in Europe and her artistic style harmonized with the Art Nouveau that was popular in arts and construction of Europe in those days, so interchange with other arts was naturally made. Her works using soft lines and various colors' lights coincided with the tendency of Art Nouveau that intended to create a new style through soft and flexible lines by escaping from tradition. Purpose of this study is to examine artistic tendency of Loie Fuller with Art Nouveau style and to argue characteristics of Fuller's dance that attempted illusion and transformation using lighting and colors in a dancing art for the first time. In order to fulfill this purpose, the researcher intends to search for the concept of Art Nouveau and to argue the tendency of Art Nouveau in Fuller's dance. In addition, the researcher also intends to argue characteristics of Fuller's dance through her works.