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2011, Vol.32, No.32

  • 1.

    Discussion about the Nomadic Body in Dance Art from the Perspective of the Thought of G. Deleuze - Focusing on Philippe Decouflé’s「 Shazam」-

    Ilhwa Na | 2011, 32(32) | pp.1~24 | number of Cited : 4
    Abstract PDF
    This study aims to identify the nomadic characteristics of the dancing body based on Gilles Deleuze’s thought concerned with time and space, and to illustrate this with actual dance works focusing on Decouflé’s「 Shazam」. For this study, first, the concepts of Ion and a smooth space were understood by centering on books by Deuleuze, and the theoretical background was prepared by looking into the characteristics of the choreography and the representative works of Philippe Decouflé. From these discussions, the temporality and momentary nature of a dancing body was able to be explained in the context of enabling unceasing changes and creation through the concept of Ion and a smooth concept. And this thesis was to suggest the basis for the discussion about dancing by closely relating the world of ‘simulacre’, which was emphasized by him, to art. Existing studies that have discussed dancing art by applying the philosophy 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 differentiated from previous studies because it understood the thought of Deleuze by focusing on his writings, books, and papers as well as his posthumous books, and discussed the dancing body based on the thought. This is meaningful in that it is able to extend the scope of dance aesthetics and draw out various topics of discussion by interpreting the dancing body at the level of dancing art, which was not dealt with by Deleuze.
  • 2.

    The Study on Application of TCAM (Thinking Creatively in Action and Movement) Test for Evaluating Dance Creativity

    박영하 | 2011, 32(32) | pp.25~47 | number of Cited : 6
    Abstract PDF
    The purpose of this study is to analyze the possibility of application of TCAM (Thinking Creatively in Action and Movement) test in the field of dance education. In order to analyze this, this study first conducts analysis on how TCAM test relates to dance elements in improvisation and then this study verifies the relationship between TCAM test and dance creativity. Lastly, this study compares and analyzes the factors between TCAM test and Dance Creativity on the basis of Action-based Creative Cognition Process of Peter(2007)’s the Creative Action Theory. From the analysis of data, this study found results as follow; first, Creative activity in TCAM test have close relationship with factors of dance improvisation. Second. Creative movement in TCAM test and Dance Creativity has same creative process based on Action-based creative cognition process of Peter’s Creative Action Theory. Third, TCAM test and Dance Creativity involve same factors and the factors of TCAM test involves into the dance thinking domain of Dance Creativity, so that TCAM test can be applicable to exam Dance Creativity in dance thin. In result, according to Peter’s creative action theory, all creative movements are made through Action-based creative cognition process, and four factors of Dance Creativity and creative activities of TCAM test constitute common domain to produce creative movement. Therefore, the relationship between Dance Creativity and TCAM test are concluded, so that TCAM test can be applicable to exam creativity in dance.
  • 3.

    Research into the Characteristics of Classicism present in Opera Ballet - Focusing on「 Temple of Glory」-

    ji-won Lee | 2011, 32(32) | pp.49~73 | number of Cited : 1
    Abstract PDF
    The Arts has been revered and accepted in France, claiming the era of Enlightenment and Baroque as Classicism. This research commenced on the query that while other art forms of the 17^(th) and 18^(th) century were referred to as Classicism, it was not until the 19^(th) century that Classicism appeared in the history of dance. Therefore, the classicism presented in opera ballet, which had a flourishing foundation will be discussed in length. The first approach will be whether any factors that can be considered as Classicism in terms of the Arts arose in dance of that era. Many historians and philosophers emphasized ‘returning to the Ancient Greek; thus, stressed emulating nature, respecting rules and order under the rationality of mankind, and volunteering as a game of the upper class upon form and organization’. These factors are identifiable as a commonality in early history of opera ballet. Ballet, after the 17^(th) century, was strictly educated and controlled under the name of tradition when the France royal ballet academy was built. Accordingly, order and form was thoroughly obeyed in organizing movement. Content also held an ideal for Classicism. In 「Temple of Glory」, it includes heroes reflecting classic preferences, and dramatic themes on gods and myth, while movement was composed with a ideal portrayal of mankind by imitating nature which is comparable to Greek statues. By applying the statues’ pose and proportion onto the dancer’s body, the Greek’s tendency toward imitating nature could be reflected. Also a dual structure of ‘top’ and ‘bottom’, which was the Academy’s official aesthetic norm, was applied and followed under strict control. Thus, deducing from the origins of the Ancient Greeks, Classicism was formed in the Enlightenment, and later these accomplishments came to form the universality of ballet. In brief, the Classic context of ballet history is summarized in the table below. Considering the 17^(th) century, when the Royal dance academy was formed, as the Classicism origin, the 18^(th) century, when all became specialized and accommodated, comprises Classicism, and what formed in Russia comprises not Classicism but New Classicism. The historic context of ballet should be examined in these terms. The concept of Classicism, in reality, includes a wide scope of problems and specific queries. However, it is anticipated that based on fundamental research on early ballet, a comprehensive and diverse approach can invigorate further discussions on Classicism research.
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  • 5.

    Body Biscourse about Dance in Film -Focused on Pina Bausch’s Dance Seen in the Movie「 Talk to Her」-

    EuiSook Chung | 변혁 | 2011, 32(32) | pp.127~147 | number of Cited : 4
    Abstract PDF
    Focusing on the dance performance by Pina Bausch featured in Talk to her (2002) this paper analyzes the role of dance and how the movement or body language evolves into verbal language in the movie, from the viewpoint of Carl Gustav Jung’s Analytical psychology, especially by applying his concepts of collective unconscious, shadow, persona, anima and animus. The analysis shows that Benigno, one of the main characters of the movie,represents the concept of shadow, as he transforms the female character Alicia’s unconscious body into conscious one. In addition, collective unconscious of people labelling Benigno’s act as offense corresponds to the concept of persona. Meanwhile, another female character Lydia’s body is matched with the concept anima, as her body remains unconscious, due to the collective unconscious of people. To sum up, collective unconscious makes Benigno and Lydia’s body unconscious, as two of them are, from the general public’s viewpoint, out of social category. The dance performances Cafe Müller and Masurca Fogo in the movie acted as projections from which they implied or highlighted the two female characters’ bodies switching between consciousness and unconsciousness. By doing so, those two performances provided the movie with a psychological structure. Cafe Müller illustrated Pina Bausch’s memories of her youth with dreamlike, eyes-closed and weightless steps, while Masurca Fogo consisted of couple dancing and lifting movements, bringing with a bright and lively impression. Unlike dance studies on Pina Bausch, this study considered how her dance performances provided psychological and symbolic foundations of the movie. It means that this study paved the way to see how differently the messages of PinaBausch’s choreograph could be interpreted and realized in other medium. In other words, this study provided a way to see her choreograph style (which contains her own notion) from different point of view, and it would make it able to see not only dance, but also the time’s characteristics, such as gender issue, social stratum, capitalism, ideology, and people’s notion from dance pieces. Also, taking human body as text, this study examined the piece of Pedro Almodovar Caballero, whose works consistently dealt with human body, from the viewpoint of movie as well as dance.
  • 6.

    A symbol and Metaphor included in the Songs, Dances, and Music of JeongjaeⅠ:「 Hyunsundo」

    Cho Kyung A | 2011, 32(32) | pp.149~177 | number of Cited : 7
    Abstract PDF
    The aim of this study is to investigate the symbol and metaphor included in the songs, dances, and music of performing court dance called as Jeongjae(呈才). Especially the present peaches for immortal called as Hyunsundo becomes the research object. The scope of time period for this research is from Goryeo to Imperial Taehan(大韓帝國). The spatial scope is the Royal Palace and region. The research objective is all of source materials from official record of court event called Uigwe(儀軌), Jeongjae Mudo Holgi (『呈才舞圖笏記』) and many literary works. In Chapter II, it describes the symbol and metaphor included in the songs. At time in good season, patial from an enchanted place at the royal palace. It is base on the myth story that the Queen Mother of the West as called Xi Wang Mu(西王母). She controls a life and a dead, most was a credit which is influence from East Asia. The fairies descend from the eastern country and the paradise of the west and sang the song which prays an eternal youth. In Chapter III, it describes the symbol and metaphor included in the dances. Xi Wang Mu danced giving the peach which symbolizes an eternal youth. The number of peaches was different - 3 peaches in the royal palace, 5 in the regions. The song was quite long in the royal palace, so the dance was very simple. The song was simple from the regions, so the ratio of dance was high. In Chapter IV, it describes the symbol and metaphor included in the music. The name of most incidental music symbolizes the long life. The terminology in the name of the music was different depending on the social position of the guest.
  • 7.

    The Study on Developing Methods as Educational System of Arts Management in Dance Department of University -Case Study of Oklahoma City University in Dance Management-

    Cho Young Mi | 2011, 32(32) | pp.179~198 | number of Cited : 1
    Abstract PDF
    The aim of this research is to propose a detailed study on Developing Methods as Educational System of Arts Management in Dance Department of University. This study can proceed with the 21st century era of globalization at the university dance department’s future direction which consider systematic curriculum and environmental improvement. For this purpose, analyzing external condition objectives, curriculum and educational environment which based on university majoring in arts management curriculum are 14 universities including dance, Korea National University of Arts. In addition, the system through the introduction of the most successful and accomplished the characterization of arts management(Dance Management in the majors) training to Oklahoma City University Dance Department of the U.S. The analysis results can be summarized as the following 4 contents. First, the arts and business, a new compound to study dance and management should establish a theoretical framework. To do so is an urgent need for interdisciplinary collaboration system. Clear educational goals and the steps ahead of it and systematic curriculum precedence should be done. Second, the largest academic art management features is that it tends to emphasize the field. Connection between education and a suitable site to build a system could theoretically on a foundation through various internship and work experience in arts management that makes the study results will be further enriched. Third, the training and support systems have to connect the site to enable the reality of the campus organizations and research institutions and networks should be established. Fourth, theoretical knowledge of dance with management and diverse field with experience and expertise of the faculty must be secured. This study university department of dance in Korea as a practical study in arts management education to emphasize the value and necessity and dance departments with expertise in a systematic attempt to transform is shown to be helpful.
  • 8.

    Study on Male Dancer’s Position in Early Modern Dance - Focus on ‘Shawn and His Men Dancers’ -

    Cho, EunSook | 2011, 32(32) | pp.199~219 | number of Cited : 1
    Abstract PDF
    Most of the pioneers of modern dance that was developed in the beginning of 1900’s were women. And rather than showing woman’s beauty through dance, they used dance as means for solving social problems, especially for finding woman’s right. In the early modern dance, the role of men dancers was merely assisting role of doing only man’s role among the subject matter that women dancers intended to express. Under such circumstances, it was Ted Shawn(1891-1972) that influenced on improving men dancers’ position. It was from Shawn’s establishment of a dance troupe named as Shawn and His Men Dancers in 1933 after dissolution of Danishawn that he became to improve men dancers’ position. He formed a dance troupe at the farm house, Jacob’s Pillow that he had purchased. And until 1940 when his dance troupe was dissolved, the dance troupe had more than 1,000 times’ performances in about 750 cities of Canada, England and etc. including shows on tours in overall cities in the USA. And thereby, he could renew understanding of the audiences who had prejudice of men dancers. In order to show subjective men dancers’ shapes not as assistants to women dancers, Shawn showed works whose subject matter was sports, labor, war and etc. And by converting movements appearing in sports into dances, he emphasized men’s physical images. In addition, in his work, he included Christian ideas and used familiar folk music or spiritual songs to Americans and thereby obtained effective result of religious and interesting works. As representative works of Shawn, there are Kinetic Molpai(1935), Labor Symphony(1934), Olympiad(1936), Polonais (1933) and etc. Object of this study is to examine what kind of effort Ted Shawn made with his men dance troupe in order to improve men dancers’ position. In this study, the researcher intends to limit the period for examination from 1933 to 1940 when Shawn settled at Jacob’s Pillow and developed mend dance troupe after dissolution of Danishawn. The researcher is sure that study on Ted Shawn who made effort to improve men dancers’ position by forming the first men dance troupe would be meaningful for reconfirming men dancers’ position in modern dance. In order to achieve the object of study, the researcher intends to examine positions of women and men dancers in the modern dance world in the beginning of the 20th century and then argue Shawn and his men dancers’ activities and works.