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2012, Vol.36, No.36

  • 1.

    Art Nouveau Style Symbolism in Loie Fuller's Dance

    MalborgKim | 2012, 36(36) | pp.1~18 | number of Cited : 3
    Abstract PDF
    Loie Fuller was one of the most innovative dance artists of the twentieth century. In the beginning of the 20th century, she was the most famous dancer in the world though some people wondered whether she was really dancing. She broke the traditional concept of choreography and prepared the way for the development of modern dance. As a "magician of light", her work influenced not only future artists in modern dance, such as Isadora Duncan and Martha Graham, but also a whole range of poets, painters, sculptors and intellectuals. She brought both revolutionary dance forms and technical innovations in costume and lighting and made important contributions to stage lighting and to cinema techniques. She became the personification of Art Nouveau and the inspiration for many artists who idealizing her and portrayed her in a countless art works. Also she was an inspiration for poets as well as artists, she served as an ideal symbol of the symbolist movement. In this study, the developmental path of Loie Fuller's dance style was examined from her early career at the burlesque skirt dancer in vaudeville and pantomime show to her prime time and later days. Through the study of her style, this writer pinpointed that Fuller read and portrayed the spirit of her period into dance and that is the fundamental reason why she became an icon of that cultural era. This study explains how she was accepted and interpreted as a pioneer of Art Nouveau and symbol of the symbolist movement through the critics and artists writings and criticisms. But as a conclusion, Fuller seems to have had a curious sponge like quality in aesthetic matters, absorbing and embodying the influences around her, while remaining convincingly original and unshackled to any one label or category.
  • 2.

    Perspective of Nonverbal Meta-Communication Theory in Dance Study

    김지영 | Hyunjung Park | 2012, 36(36) | pp.19~41 | number of Cited : 8
    Abstract PDF
    The purpose of this study was to understand the nonverbal communication elements of dance in order to present the possibility and validity of applying them from the standpoint of nonverbal meta communication centering on kinetics and proxemics. The nonverbal meta communication theory that can be applied in dance study includes the following three perspectives. First, the kinetics by Birdwhistell has the meaning of body language. It can be applied in interpreting the meaning of bodily action of dance movement, gesture, motion and posture. Second, the kinesiology by Ekman & Friessn(1968) increases individual, feel, atmosphere, individuality and attitude, and emphasizes the given interpersonal interaction, essence of relationship, condition or characteristics of communication, etc. Accordingly, it presents origin that can be diversely encoded, coding that can be presented as instinctive, arbitrary or intentional representation, and usage that convey message. Third, the proxemics by Hall which is a theory on communication mainly deals with usage of space. With regards to the dance space, contact, visual code and symbol system, it is a theory that presents the symbol and meaning of the factor and symbol of posture, symbol of social shielding & acceleration, contact action and factor, visual or olfactory code, voice, etc. In addition, the philosophical basis that affect dance study and theory can be seen in meta theory. First, dance from the epistemological perspective can deal with the issue of methodology, method and procedure of hypothesis, and issues on dance tool and technique. Second, dance from the ontological perspective can be based on the meta theory of approaching the issues of metaphysical dance from the standpoint of phenomenology because it allows theory, concept, interpretive frame and observatory explanation. Third, dance from axiological perspective deals with the issue of the beauty and value of dance. Accordingly, it can be seen that ethical and moral proposition and value and judgement can be described in the value influence of dance study.
  • 3.

    Re-reading a Contexts: A Socio-Cultural Analysis on the Process of Korean Popular Dance from 1900’s to 1950’s.

    양은정 | 2012, 36(36) | pp.43~82 | number of Cited : 0
    Abstract PDF
    The purpose of this study is to characterize the meanings and properties of popular dance in the sociocultural context by reviewing aspects of changes in the 20th century’s popular dance in Korea. Attention to the dance breathing together with ‘I’ within the current daily life, i.e. the popular dance that incessantly embodies active utterances within society and exists in the daily life will present a possibility to extend the horizon of the present and future texts of dance. This study is an attempt at re-writing the scholarship of dance by trying to study popular dance in connection with the discourses found within the sociocultural context and finding out meanings overlooked in history. This study is emphasizes a new kind of reading, which is different from the old method of reading. These days there is no single right answer in the cultural analysis, and it cannot be accepted that any opinion is valid. This study focused on readers to think about the contexts in which texts mean different things to different people at different times. According to this point of view, we ought to recognize that the word 'contexts' has been used in plural, which emphasizes that readers are not searching for one absolute meaning, but for many meanings in a text. The 20th century’s popular dance in Korea started with the movement by the general public who rejected the traditional feudal values through the modernization including the introduction of Western dance and foundation of theaters. Popular dance was re-distributed in the history of the body as a possibility of limitless variations while incessantly reproduced, practiced, and communicated. Especially, popular dance was rapidly spread through mass media as the dance formed with cities as its background was turned into group consciousness and fashion through events. The 20th century’s Korean popular dance reproduced its implications while it was incessantly oppressed and was resisting under political, social, cultural backgrounds. As the domain of art and entertainment started to be split and the general public’s dance became represented as a life style within the routine space, the Korean popular dance used to be realized as dancing gestures distinct from the dominant ideology in a given age on one hand, and to reconstruct the power through dancing styles on the other. Since the introduction of social dance in the 1920s, dance was realized in patterns that advocated cultivation or patriarchy under the certified power relation. The demand and increase of the number of dance halls in the 1930s and in the 1950s designated that dance functioned as an important liberated area and escape hatch for life of the general public in such a degree.
  • 4.

    A Study on Queer Shown in Korean Contemporary Dance -Focused on「Inside Out」-

    ji-won Lee | 2012, 36(36) | pp.83~99 | number of Cited : 1
    Abstract PDF
    한국사회에서 퀴어의 의미는 생소하며 거북하기까지 하다. 2000년 왕성하게 활동하던 홍석천이 처음으로 자신의 성적취향이 게이임을 밝혔을 때 가히 한국사회는 충격에 빠졌었다. 그는 즉각 부도덕한 인물로 낙인찍혀 모든 공적 프로그램에서 배제되었다. 이미 80년대에 마크 모리스(Mark Morris)나 빌티 존스(Bill t. Jones)가 무대 위에서 공공연하게 성적 취향을 전개하던 미국 예술계의 실정과는 달랐다. 퀴어가 동성애를 병적이지 않는 것, 주변적이지 않는 것을 만들고자하는 시도로 성차에 관한 상식과 선입견을 벗어난 탈동성애화(dehomosexulaize)하려는 노력이라 볼 때 한국에서 보여주는 퀴어적 시도는 어떠한지 본 연구를 통해 살피고자 한다. 한국 현대춤의 지점을 간략하게 살피고 우현영의 「인사이드 아웃」이라는 대표작을 통해 논해보고자 한다. 한국춤에서 나타나는 퀴어에 관한 해석과 함께 중요한 것은 예술의 다양성에 관하여 살피는 것이다. 버틀러의 ‘젠더는 없다’가 학문적 공허한 외침이 아니라 성소수자에 대한 다양한 성적 취향을 반영하고 제시하는 문화적 유연성과 행보에 동참하기를 희망한다. 서로의 차이를 인정하는 문화에 관하여서도 제한적일 수 없다는 것이며 무대예술에 있어 진정한 의미의 다양성을 향후 기대해본다.
  • 5.

    Study about the relation with the Idea of Korean dance in the view of Chu Hsi’ idea. -With ‘Idea of Spirit’ as the center-

    이화진 | 2012, 36(36) | pp.101~130 | number of Cited : 1
    Abstract PDF
    Chu His understood that everything exists in this universe follows the principles of two spirits such as Yin and Yang. Furthermore, even a human being as one part of the nature, can reach to the truth of the work through the unity of body and mind, he asserted. Therefore, on this report I studied the Chu Hsi’ view related with the idea of Korean dance as below. First, Chu His showed his awareness of the rightness and unity of things through co-existence of the two spirits of Yin and Yang, in the view of ontological structure of all things. Korean dance is an art genre of not a simple or random movement. I could confirm that Korean dance is rather like laws of nature which embodies it according to the principle originated in each display of dance. Second, Chu His says that if we make a good harmony of our body with our character or heart according to the usage, we can reveal the essence of nature through the figure. According to this assertion of Chu His, in the view of art, completion of the work of art can be seen through the harmony of body and mind. Therefore we can say that dancer can produce the sense of beauty of dance, which makes us dance naturally, through the harmony of body and mind, with the basics of simple minded character. Like this, we can understand that the spirit, which includes the heart and locomotion of things in Chu His’ idea, can be the essence of external mobility and internal root of Korean dance. What should be aimed for the people, who live an artistic life, is to recognize that they should produce the work of art on the basics of real simple mind first. Accordingly, Korean dance should include even the purity and the simplicity of dancer which show the aesthetic sense of dance as well as external beauty that can be seen in the movement of display of dance. In this point of view, the significance (or meaning) of this study lies on that this study can be a new trial for the aesthetic study of Korean dance, through the accessibility of the idea of Chu His and the idea of Korean dance.
  • 6.

    The method to popularize dance genre through analyzing the audience attending to "Cheonan World Dance Festival 2011"

    Nam-Kyu Cho | 2012, 36(36) | pp.131~158 | number of Cited : 5
    Abstract PDF
    The purpose of this research is to find the way to popularize dance genre through analyzing the audience who attended to the five important festivals of "Cheonan World Dance Festival 2011" such as ‘Dance Competition’, ‘Street Parade’, ‘International Fork Dance Contest ,’ which are the main events and the sub-event, ‘Chum Nanjang’. This festival took place for 6 days from 2011. 09. 28(wed) ~ 10. 03(mon) throughout the whole area in Cheonan city. In this research I classified the audience who attended to "Cheonan World Dance Festival 2011" by sex, age, and profession. By analyzing tendency of their past experience in festivals and its numbers of attending, a positive way of thinking against dance was derived. Also, based on the result of this analysis, I intend to deliver the method to popularize dance through this kind of festival. The results are as follows. First, in the analysis through sex of the audience female attended much more than male did and the gap was wide. For 'Chum Nanjang', which is more "participating" program, the gap between two sexes were very narrow. As showed, it is need that participating style programs, such as couple dance, flash mob, or line dance, which more male can participate and enjoy, be produced more. Second, it is needed the programs be targeted and custom made based on ages and professions of audience. More detail plan should be accomplished not only on participating type programs but also competition viewing ones. Third, the non-attendance rate was high as 60% except the main event ‘Dance Competition’. This happens because programs with popular code are not well developed and it means that organically working dance genre programs where people want to stay and enjoy should be continually developed. In 2011, through my precedence research, although it has been shown that "Cheonan World Dance Festival’" dance genre settled down as a local brand, it is not enough to be a content that ordinary people can access easily and enjoy comfortably. As dance genre is a comprehensive art form, it offers versatile amusement such as dancing and music. It has been proved by many researches that dance is a positive medium content that can be successful at the local festivals. If a few practical ways are established, as taking place successful festivals, it is not impossible to make dance genre popular.
  • 7.

    Study on Breathing in Body Movement Therapy  - Centering on Bartenieff Fundamentals, Pilates and Topf Technique-

    Cho, EunSook | 이경희 | 2012, 36(36) | pp.157~178 | number of Cited : 2
    Abstract PDF
    Body Movement Therapy pursuing convergence of body and mind is being developed through more diverse techniques. At present, the techniques that are registered in the International Somatic Movement Education & Therapy Association are about 22 types. These techniques are different according to their approach, but their common goal can be said as awareness of the body and body alignment on the basis of identity theory. Body Movement Therapy attaches great importance to connection and harmony between each part of the body for overall balance of the body rather than treatment or education of only one part of the body. It can be said that while pursing overall balance of the body, the most basic thing is breathing. During daily life or in the midst of performing dance movement, breathing represents the situation of the performer most exactly. Breathing influences not only on physical tension and relaxation but also on mental tension and relaxation. Physiological effects of breathing influence steadily on performance of large or small movements and expressional ability as well as even on stationary condition of movement. The objective of this study is to compare and analyze how diverse techniques of Body Movement Therapy suggest the principle and application of breathing. The techniques of Body Movement Therapy to be compared and analyzed in this study are Bartenieff Fundamentals, Pilates and Topf Technique. These techniques were applied to the field of dance for effective performance of choreography and movements from the beginning of their development. And they are also properly used by dancers requiring convergence of body and mind. In order to achieve the objective of this study, first of all, the researcher intends to study the concept of breathing and then argues the principle and methods being suggested by each technique of body movement therapy. In addition, the researcher also intends to compare and analyze the principle of breathing that appear in the above three techniques.