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2011, Vol.33, No.33

  • 1.

    Intertextuality Body Inhere in「 History of Tears」of Jan Fabre

    김주희 | EuiSook Chung | 2011, 33(33) | pp.1~29 | number of Cited : 2
    Abstract PDF
    This dissertation aims to examine the aspects and meanings of gendered bodies in dance. For this, I analyze Jan Fabre’s「History of Tears」(2005),intertextuality. Intertextuality bodies in the work have communicable bodies. They show the intertextual bodies that can cr+eate sociopolitical discourses by displaying unbalanced fat bodies rather than well-balanced beautiful bodies. The distorted bodies become an independent body by offering an opportunity to communicate autonomously. 「History of Tears」also challenges to power-oriented space by doing carnivalesque performance in church space. It even transforms itself into a space in which people can participate and approach. Intertextuality bodies in the three works don’t work as a place for politics or direct power, but the bodies are represented as strategical bodies which reveal the essence of power by deconstructing the traditional understanding of the bodies and presenting a new understanding of the body. The Intertextuality bodies in the works perform a gender in real stage space. They challenge to power relationships by creating cultural discourses. This research could confirm that dance itself is political. In other words, dance does not reproduce a specific political incident, but expose political aspects in intertextuality bodies.
  • 2.

    The Possibility of Integrated Cultural-Artistic Education

    Suh Ye Won | 2011, 33(33) | pp.31~50 | number of Cited : 8
    Abstract PDF
    The purpose of this study was to examine the theoretical and practical possibility of Integrated Cultural-Artistic Education. In order to this, first, the concepts and functions of Integrated Cultural-Artistic Education were investigated, second, The Integrated Cultural-Artistic Education Model was presented, third, the cases of field application of Integrated Cultural-Artistic Education were examined. This study was premised the needs of Art Education and suggest Integrated Cultural-Artistic Education as a methods of development various Art Education. Because The Art Education that develop artistic sensibility and cultivate creativity and imagination is increased through integration of various art realms. As a case of Art Education of that not only professional students but also normal students, the purpose of education is in integrated approach in art education. There were two cases of field application of Integrated Cultural-Artistic Education. One was a case of integrated dance and visual art and the other was a case of integrated dance, drama and visual art. There were several problems in the process of application. One was the teaching abilities of teacher . They seemed it was so difficult to be skilled in various arts. The other problem was the difficulty of preparing teaching material.
  • 3.

    The study of Domestic Research Tendency in Dance/Movement Psychotherapy

    오은진 | Jeong-min Lee | 2011, 33(33) | pp.51~70 | number of Cited : 3
    Abstract PDF
    This is the study on the research trends in dance/movement therapy by categorizing and analyzing the quantitative results of thesis for the last 10 years. We collected the master`s thesis searched by the keyword of dance/movement therapy or dance therapy and thesis reported in the related journal from 2000 to 2010. Then we classified them into time range, subject, variables, method and theoretical background of studies. The result shows that there`s been vitalized in the domain of variables and subject. Therefore the value of dance/movement therapy is getting wider from therapeutic range to socioculturally welfare. In the other hand, the method and the theoretical background of applied therapy are relatively poor and limited in the validity and reliability of the study. As a result, we suggest that this result will provide the preliminary source to encourage the study of the dance/movement therapy based on the theoretical background and specialized experiences in a very creative way. In addition, the dance / movement therapy has expanded to an integrated view should be studied.
  • 4.

    A Study on Dance Illusionism from the Perspective of Media Aesthetics

    Jisun Lee | 2011, 33(33) | pp.71~110 | number of Cited : 5
    Abstract PDF
    This study is aimed to contemplate the meaning of dance illusionism in the digital image era from the perspective of media aesthetics. As a perceptual quality of dance movement mediated by digital media, illusionism, here, connotes a meaning of a new media reality as simulacre. Through the discussion on illusionism, this study cognizes the importance of media aesthetics that are used in dance and interprets mediating characteristics of dance as a moving image. At first, the study understood the changes in perception and cognition mediated by media and sought for the new metaphysical value evaluation about illusionism by examining philosophical flow from the Plato’s concept of simulacre to major issues of media aesthetics represented by Jean Baudrillard. The discussion on illusionism in dance regards the perception of dance movement and the structure of acceptance as body, space-time, and interaction and focuses on expanded reality of these three factors affected by digital image media. Moreover, the study interpreted how these concepts are defined by characteristics of respective media technologies through the analysis of remediated media history from film to digital computer in dance. The meaning of illusionism in media aesthetics of dance is explained as the plural subjectivity as image corporeality, multilateral, flexible and complex space-time, and the expansion of synesthetic perception by real-time interaction due to projection technology and real-time motion capture, etc. Through the discussion, the body expanded by digital medial technology and the dance and movement concept of expansion caused by space-time points out convergence of art centering on dance in the digital media era. The dance is out of traditional, aesthetic frame, and has the dance factors are in art and around our life. Such the ubiquity of dance suggests that identical meaning of artworks in the digital media is defined from the meaning of the interpretative and participatory process instead of the importance of art itself.
  • 5.

    디아길레프(Sergei Diaghilev)의 발레뤼스 공연기획 특징에 관한 연구

    임효진 | 2011, 33(33) | pp.111~134 | number of Cited : 1
    Abstract PDF
    Ballets Russes(1920~1929) which was founded by Sergei Diaghilev (1872~1929) achieved both artistic success and popularity in early 20th century. Ballets Russes was a progressive dance company that not only contributed in the modernization of ballet but also revitalized dance in the depressed art world at that time. This study is aimed to analyze how Ballet Russes could succeed magnificently from a production point of view, especially concerning the characteristics of Diaghilev’s production. In this article the characteristics of his production style are divided into two categories of ‘management’ and ‘artistic part.’ The ‘management’ part deals with human networks and business strategies. Diaghilev had private groups and an association of supporters, and he could get these people with his sociability. In the aspect of his business strategies, Diaghilev made himself brand of company, created dance works according to commercialized plans and adopted tour performing system. The ‘artistic’ part deals with the discerning eye for art and ability of discovering talented artists. Diaghilev had an eye for art which could have been refined in lots of art production experiences and he, a man of insight, always pursued novelty. He also made a great effort in recruiting artists, training choreographers, and helping artists to create dance performances. In conclusion, this discussion shows that these Diaghilev’s abilities of dance production which balanced between management and artistic qualification helped him to make Ballet Russes an influential company.
  • 6.

    Sources of the Obstruction and Precipitating Factors in Dance Flow

    Youngju Cho | Jung, Yooyeong | 2011, 33(33) | pp.135~151 | number of Cited : 2
    Abstract PDF
    The purpose of the study was to explore the obstruction and precipitating factors in dance flow. To achieve the goal, it carried out the inductive content analysis through open-ended questionnaire survey on 240 participants who majored in dance. The results are as follows: First, obstruction factors in dance flow were extracted from raw data of 449 cases. As a result of categorizing into 31 subcategories, 6 general categories were categorized under the sequence of environmental aspect(50.11%), physical aspect(19.60%), psychological aspect(13.81%), technical aspect(7.80%), social aspect(6.68%), and individual aspect(2.00%). Second, precipitating factors that facilitate dance flow were categorized into 25 subcategories based on the raw data of 463 cases. These factors were categorized into 5 general categories under the sequence of psychological aspect(45.14%), technical aspect(20.95%), environmental aspect(15.77%), physical aspect(9.72%), and social aspect(8.42%). Third, the main aspect of obstruction factors in dance flow was environmental aspect, while the main aspect of facilitating dance flow was psychological aspect. This shows the striking difference. This finding indicates that the improvement of positive performance will be made if an approach is attempted from the integrative perspectives that integrate obstruction and precipitating factors in dance flow.
  • 7.

    창의성 함양을 위한 한국무용의 교육적 가치

    cha su jung | 2011, 33(33) | pp.153~174 | number of Cited : 4
    Abstract PDF
    The purpose of the present research is to make a foundation of basic research for developing Korean dance education programs for cultivating creativity, and to clarify its educational possibility and value of Korean dance as right education media for cultivating creativity being required by the contemporary society. Because Korean dance can freely adjust a change improvisedly and creatively without fixation on prepared forms and arrangements, it could become an effective educational basis in development of creativity. Accordingly, the following conclusions can be obtained from the result of the present research. First, the fluency, originality and flexibility out of creativity can be cultivated by progressing a story-based dance drama including classic fairy tales. Second, as Korean dance can easily approach on Korean culture and history,the originality and flexibility out of creativity can be cultivated. Third, the fluency and imagination can be improved by utilizing a usage method of trifling articles, material and costume in Korean dance. Fourth, various ideas can be produced by improving sensitivity and fluency out of creativity through changes of various beats and rhythms. Fifth, the body is easily configured and visualized through narrative structure and material of Korean dance containing historicity. This can foster fluency, flexibility and abstractness of a title out of creativity. Sixth, the resistance to premature closure capable of thinking this more deeply after learning Korean dance can be cultivated. Seventh, the delicacy and flexibility being developed more specifically could be developed at the same time by utilizing self-examination and inner expression contained in traditional dance. Like this, as Korean dance has a mutually close relationship with several factors of creativity, it is a field having high educational utilization. Accordingly, the active interest and continuous subsequent research are necessary from an education prospective.