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2014, Vol.47, No.2

  • 1.

    Study of Dance/Movement Therapy Trainee’s Burnout and Coping

    Na Yung Kim | 2014, 47(2) | pp.1~20 | number of Cited : 0
    Abstract PDF
    Burnout is an inherent risk for those working as a dance/movement therapist,given the nature of their work. Factors affect to burnout were figure out by usingin -depth interviews to 5 trainees of dance/movement therapists who have workedfor 2 years or more in inpatient mental health hospitals. Factors of burnout were asfollows:Firstly, ‘unconcerned environment’. Unconcerned environment was a factorof burnout due to ignorance of medical personals for the nature of dance/movement therapist’s work. Secondly, ‘risk of identity’. The risk of identity was confusion or misunderstandto dance/movement therapists as an educator or a dancer. Thirdly, 'characteristics of session rooms'. Rooms for dance/movementtherapy was held in an open space of hospitals, there could be watch by medicalstaffs that could made feeling of inferiority. Fourthly, ‘conflicts between theory and practice’. Even though, they havelearned theories in their graduate school, they demonstrated confusion of practicalmethods. Whenever therapists felt conflicts between theory and practise, they gotburnout for their working. Fifthly, ‘personality and experience’. Dance/movement therapists’ passivedisturbed harmonious relationships between therapists and patients. High levelsof burnout were reported among those who possess un or less experiencedprofessions. Two factors, 'supervision' and 'work experience' were considered as methodsfor cure burnout. A well organized supervision was considered as a way to provideself-esteem of trainee. The trainees had experienced healing their burnoutsymptoms when they led dance/movement therapy sessions for patients. Thehealing experience can be another factor to cure burnout in current work-setting.
  • 2.

    Existential Meaning and Interpretation of German Modern Dance in the 20th Century

    MalborgKim | ji-won Lee | 2014, 47(2) | pp.21~54 | number of Cited : 3
    Abstract PDF
    Opposition to Positivism and Rationalism, Existentialism was born out ofsocial unrest and, a futile and unreasonable reality that pierced the 20th century. Starting from Kierkegarrd, Niche, Heidegger, and to Sarte, humanity wasdisappointed and suspicious within the relative faith. So the focus of existentialismis on looking toward the inner self, establishing a true human character and goingback to our ego. As Sarte once said, where everyone faces death, being human is achoice between life and death. Actionable movement, where we know theproperties of life, choose life’s problems on our own, and take responsibility for it,encounters the art, movement, and worries of the modern society of moderndancers. Dances of early modern dancers can be explained in several characteristicswhen interpreted with Existentialism. First is that they stand strongly againstrationalism that ignores one’s true identity, will and emotion. They are also againsta uniform beauty that combines all other specific characteristics of individuals witha rational standard and they have made their own new beauty. This is an emotionalside or of their experience and identity. Second is men’s irrational existence in astruggle that started with anxiety of living and emptiness of life to find one’s trueself expressed in death. The various interpretations and development of death is aface of transcendent humanity that confronts reality, does not lose hope and showsstrength. The third is a recreation of open construct, space and time. Existentialistportrayed one’s unique value in thought of space, time and images of color, andrefused a fixed frame or limitations utilizing open endings. Representative of this philosophy was the German dancers Wigman and JoossAbstractwho depicted active men in their work. They did not portray someone in astereotype or within a set of values but showed ones’ self with the results of whatthey experienced. Wigman expressed with the body an existential being through awitch who realized her destiny with her own will and at the same time anincomplete being who sought self-salvation while denying traditional rules. Joossalso made experienced confessions and autonomous movement by creatingdivergent interpretations and characters of death. Their s are a confession ofsubjective thought, truth, introspection and action that leads to limitations ofexistentialism and conquest. This research dealt with early modern dance but has limits to encompassingthe existential being dominantly seen today. One hopes that diverse interpretationsof dance will be achieved upon the conceptual properties of Existentialism.
  • 3.

    Chinese Modern Dance a Process of Development and a Major Figure

    Kim, Joo-Hee | 진양 | 2014, 47(2) | pp.55~75 | number of Cited : 0
    Abstract PDF
    The cultural and artistic exchanges between Korea and China have increased. In consideration of this phenomenon, this research intends to offer basicinformation concerning Chinese art by introducing the development of Chinesemodern dance and key figures in the industry. Rong Lin Yu, Xiao Bang Wu , and Ai Lian Dai stand as key figures of earlyChinese modern dance. These individuals returned to China and introducedmodern dance after studying dance from historical legends such as IsadoraDuncan, Marie Baden, and Rudolf Laban. However, political circumstances hindered the development of modern dancewhen China was established as the socialist People’s Republic of China in 1949. Nevertheless, 1978 welcomed a full-fledged reform, and modern dance began toflourish once again since Hong Kong returned to China. Mei Qi Yang, Mei Wang,Willy Tsao, Jin Xing , and Wei Shen prevailed as key figures during this period. The results of this research reveal that the development of modern dance inChina closely related on the political situation and environment.
  • 4.

    A Study on the Connectivity between Folk Faith and Dance Internalized in Nationalistic Drama Muldoridong

    Mijung Roh | EuiSook Chung | 2014, 47(2) | pp.77~101 | number of Cited : 0
    Abstract PDF
    The purpose of this study is discussing the relation between folk faith anddance internalized in nationalistic drama 「muldoridong」by focusing on the‘Hahoebyeolsingut talnori (mask performance)’ (Important intangible cultural assetno. 69) in this drama of ‘Minye Theater Company’, which dramatized the legendof the Hahoetal (mask of Hahoe village). This is to study the uniqueness anduniversality in the basis of Korean traditional culture in detail and find the pattern,in which the uniqueness and universality are expressed as dance. Accordingly, itwas possible to draw the symbolic meaning of the connectivity between folk faithand dance internalized in nationalistic drama 「muldoridong」. In conclusion, only the entertaining aspect of the dance is conspicuous whilethe essential meaning contained in the dance regarding the connectivity betweendance and folk faith internalized in the nationalistic drama 「muldoridong」isforgotten. As the result, people today only appreciate the dance with refinedtechnique and artistic nature through the performer of folk dance including themask dance. Like this, the folksy nature or sensitivity internalized in the folk dancehas been degenerated to ‘a dance just to be shown’; while only the entertaining andartistic character are emphasized. It should be recognized that the uniquecharacteristics, which make the basis of Korean traditional culture and clearlydifferent from other country and other people, exist in the base of it. It is believed that this study would become a good example which wouldinspire the awareness of people, which is being forgotten in modern society; whileit is hoped that there would be more studies on this subject in the future.
  • 5.

    A Study on the Correlation between the View of ‘Nature’ presented by Lao-tzu and the Aesthetics of Dance - On the Jinju Gyobang Gudgeori chum of Kim Suak -

    손인영 | 2014, 47(2) | pp.103~135 | number of Cited : 0
    Abstract PDF
    This thesis aims to study the correlation between Lao-tzu’s view of nature andthe aesthetic consciousness of Korean dance and hence to look at how an idea isexpressed in the aesthetic consciousness of dance in Korea. Lao-tzu’s naturalism isdeeply rooted in the basic culture of Korean people. Lao-tzu’s philosophy iswidespread in both the culture and art of Korea, and ‘natural beauty’ is an essentialconcept that cannot be forgotten in a discussion about the beauty of Korea. ‘Naturalbeauty’ is one of the most frequently discussed aesthetic concepts and constitutesan essential part of Korean dance. The meaning of ‘Nature’, which constitutes an important part of thephilosophy of Lao-tzu, is looked at in 3 ways. First, the circularity of nature, whichbegins from birth and ends with death. Second, the naturality of nature, whichdoesn’t require any artificiality. Third, the curative power of nature, which enablesnatural healing in emptiness. This thesis looks at how the naturalism of Lao-tzu isrealized and expressed in the life and the dance of master dancer Kim Suak. Through this study, it was found that, even though Kim Suak didn’t fullyunderstand the philosophy of Lao-tzu, she had the moves of a master dancer whois attuned to the philosophy of ‘Tao’ based on her inherited and internalized talentsfor the sound and dance of ancient times. In the following part, how the philosophy of Lao-tzu is reflected in Koreandance is looked into under the categories of: the dance of circularity, the dance ofsoftness, and the dance of emptiness. 1. Dance of Circularity: The thesis finds that the moves and the structure ofKorean dance show that the circularity of dance with curves is widespreadAbstractin Korean dance, and that the true values of the circularity are best reflectedin the ‘hwi-young-cheong (glorious)’ dance or the ‘hol-mok (wrist)’ dance ofJinju Gyobang Gudgeori chum of Kim Suak. 2. Dance of Softness: The thesis finds that dance with soft moves reminiscentof willow trees swaying in the wind is possible only from time and years ofexperience, and that the composure enabled by the richness andaccumulation of time can make the dance special. The Jinju GyobangGudgeori chum of Kim Suak has many lines that flow like water and has asoftness which appears as though she is dancing in a vacuum. 3. Dance of Emptiness: The thesis finds that the slow and relaxing Gudgeorimusic and Korean traditional dance which naturally accompany the pace ofbreathing have an effect of art therapy. The Gudgeori chum of master dancerKim Suak is relaxing, romantic and exciting, especially when performed ina quiet pavilion while looking down on the wide ocean with arms wide openand making a smooth turn. Therefore, the dance of Kim Suak was found togive much joy to and have a curative effect on the body and mind of boththe dancer and the audience.
  • 6.

    A Study on Creative Dance Work, Applying the Co-Existence and Incompatibility Principles of Yin-Yang Five Elements - 「Hue(暉), Song of Light」-

    박경은 | Myung Sook Kim | 2014, 47(2) | pp.137~162 | number of Cited : 0
    Abstract PDF
    This study relates to the 「Hue(暉), song of light」, a dance work created by Park,Kyung eun(2012), which incorporates the principles associated with co-existenceand incompatibility of yin-yang five elements. This author adopted the motif fromDancheong(traditional multicolored paintwork on wooden buildings, 丹靑), whichprovides an insight into the coexistence & incompatibility principles of the FiveElements, to highlight the harmony and communication in contemporary societyas the subject. This author defined the theme and substances of the creative dance work titled「Hue(暉), song of light」through the literature study on the ying-yang Five Elementsand explored the images that could embody human relationship by applying theco-existence & incompatibility theory in conveying the subject of the artwork. Asa result, the ‘color’, which has the energy of the Five Elements, was expressed asthe individual called ‘I(Hue, 暉)’ while assigning the ideology of the Five Elementsto each color and analyzing the relationship that occurs between the colors to forma logical flow so as to ensure that the combination of the colors revealed indancheong could lead to the coexistence & incompatibility theory of the yin-yangFive Elements that pursues the integration and co-existence. This artwork was divided into three subjects, which are ‘antique look(古色)’,‘overlay(重疊)’, ‘Hue(暉), song of light’, based on the study that analyzed the imageof Dancheong, and the ideology intended to be explained in each Chapter wasapplied to the choreography. In relation to the method of expression, visualmaterials related to the co-existence & incompatibility principles of yin-yang fiveAbstractelements - such as the spatial configuration of artwork, dance style, costumes, music,etc - were used for structuring the artwork, along with the preceding literaturestudies. The traditional ideology which was applied to this artwork provided the crucialcriteria for organization the artwork based on the symbolicity of yin-yang FiveElements, contradictory and complementary properties of co-existence &incompatibility, and transformation of Thao and None. In that regard, this studyrepresents an attempt for new formation of Korean dance and the dance stylesthrough the research and reinterpretation of the Korean dance based on thephilosophical ground, i.e., the ‘Oriental Ideology’. Thus, this study is meaningful in that it derived new choreographic alternativethrough creative and expressive conceptualization based on the concept of harmonyand communication which are identified in traditional ideology, and confirmed thepossibility of interpreting and applying the alternative, and in that sense, the studyon the artwork, titled 「Hue(暉), song of light」which applied the principles of yinyangfive elements, is meaningful.
  • 7.

    Political Power in Ballet, Considered by Dancing King, Louis XIV

    Hyunjung Park | Ji Young Kim | 2014, 47(2) | pp.163~184 | number of Cited : 3
    Abstract PDF
    This research intends to investigate start, revival and decline of court ballet,that French Louis XIV called as an autocrat achieved, and examine politicalimplications reflected in them. It intends to examine why Louis XIV selected balletso as to strengthen and maintain royal authority and what periodical situation andpolitical background for obtaining the title of ballet revival’s founder, evaluated inthis era, were. At present, Louis XIV is focused in dance history because he can befocused as a ‘dancing body’ loving ballet and enjoying dance, not just imitation ofauthority by ballet. Dancing autocrat established royal dance academy as a dancerafter his retirement, educated and released professional dancers and gave animportant contribution to the development of theater dance and performance artthrough the professionalism and professionalization of dance in the future. Talented artists released by court ballet and ballet’s basic techniques developed bythem are very significant to prepare foundation of the next period when dance wasmore developed and systematized. In dance history, there was no time when dancereceived national supports and autocrat’s interests intensively like the court balletof Louis XIV period. And, the cultivation of political court ballet finally broughtbrilliant enlightenment of dance art in the next period.
  • 8.

    A Study on the Direction for the Development and Success Factors of Reality Survival Dancing 9

    ji-won Lee | 2014, 47(2) | pp.185~211 | number of Cited : 14
    Abstract PDF
    「Dancing 9」the first organized dance survival program in 2013 has been animportant role in public’s reconsideration on the awareness about dance. We needto consider the social ramification and positive role of the first Korean real survivalstyle dance audition program that succeeded with the highest rating of 2.8% whengenerally 1% or above of rating are thought to be successful. This programcontained composition and structure that can be appealing to the public in manyaspects. First of all, with a colorful editing, the storytelling of the participants wasrealistically descriptive and the existence of the Masters served as a truesympathizer and guide. In addition, the binary ideology of survival or elimination,which reflects the infinite competition of the modern day society increased dramatictension and with a physical, quantitative investment the scale and spectacle of anaudition survival was created. Moreover, it acted as a healing process that couldgo near the sincerity of dance. Furthermore, it first acted as a window for discovering new talent andproducing artists. It presented an opportunity to prove that dance is an art that canbe enjoyed by the public. Secondly, it popularized dance and attained diversity indance. It brought a chance to present modern art that was negatively thought of ascryptic or profound and a variety of dance like street dance that embraceindividuality and passion. There can also be points to be corrected in Season2. The show must overcomeediting or bias that can incline artistic evaluation to be commercial. Secondly, theshow must be focused on the dancer’s dance. Special attention needs to be paid tocamera entrance, exit and stage management so there will not be incidents wherethe dancer’s movements are not tracked. Lastly, a more detailed explanation needsAbstractto be given as to why the dancers survive or not so that the public can empathize. Because the competences of the Masters are emphasized in this show, carefuldescription of technical terms or points to consider should be given in fairness. Afair selection process not based on appearance or age can change the shape of howdance is perceived. For the show to be identified with more viewers, a morebeautiful view on the sincerity of dance is needed rather than a ‘devilish editing’. Hopefully, the program can be a stepping stone for many dancers who wish tofollow their dreams and can be an applauded proposal for dancers’ endeavors.
  • 9.

    Esthetic Sense of Dance in Art Works

    Choi, Hyun Ju | Ahn Byung Ju | 신경화 | 2014, 47(2) | pp.213~240 | number of Cited : 1
    Abstract PDF
    The purpose of this study is to examine aesthetic sense of dance in Westernand Korean art works. The method of approaching dance and art works was based on essentialattribute of dance and art history. Theoretical background was easily founded inpublications and research papers. To examine Western and Korean art works,Edouard Manet, Edgar De, and Henri Matisse were selected for Western-stylepainters, and Hongdo Kim, Yunbok Shin, and Eunho Kim were selected forKorean-style painters to discuss their life and masterpieces. To discuss aestheticsense of their masterpieces, the characteristics of Western and Korean art workswere examined. The following findings were given:First, the characteristic of Western art works was that the distance betweenperson and nature, or object and object was perfectly proportional by usingperspective. Realistic description, free-form expression, and beauty of movementswere also founded. The color sensation of Eastern art works emphasized on harmony of natureand human, however, Western art works focused on rationalism. The harmony ofcolor, light, and drawing style were subjective expression by severance of nature,not the affirmative or active view of the objects. Second, the characteristics of Korean art works was that landscapes or objectswas mostly placed in front rather than the back. Also, Korean art works had verydetailed expression. However, the Western perspective seted a limit on seeing onlyone viewpoint. Because of the Western perspective, it is possible that the object atthe back cannot see in the front, and only one viewpoint existed to draw actualfeature. AbstractThe color sensation of Korean art works reflected the Korean emotion, culture,and thoughts as well as construction, furnitures, handicrafts, and foods. This factshowed that Korean cultures autonomously shared its features in every categories. In the result, if Western art works were focused on human as the center withnature, Korean art works were focused on harmonizing of human and nature. Thisfeature related with human, and there were many common features betweenWestern and Korean art works. Through the result, followings were proposal:First, this study was limited on Western and Korean art works. Therefore, afollow-up study is needed to examine as aesthetic sense of dance in Korean artworks. Second, dance in Korean art works should be selected of the times and examinethe change of dance image. Therefore, a follow-up study is needed to examine thechange of dance image by the phases of the times.