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2014, Vol.48, No.3

  • 1.

    Modernity and Expression of Modern Dance in the Semiological Point of View

    MalborgKim | Jisun Lee | 2014, 48(3) | pp.1~37 | number of Cited : 3
    Abstract PDF
    The study aims to highlight the modernity of dance and the meaning ofexpression again in the semiotic methodology, which had a great effect onphilosophical thought throughout the 20th century when dancing was accepted asan independent genre of art. The study discussed the appearance of expressiontheory in which dance was approved as modern art as well as the meaning of danceexpression from the perspective of semiology, that is the concept of the structuralthinking of sign-signifier-signified and the concept of dynamic semantics. The key concept of semiology is to discover a principle by identifying thesemantic phenomenon as a semiologic phenomenon and by structuralizing thesystem of its signification from the dichotomous view. Such a recognition of astructure is a result of an effort to discover and understand scientifically humanreasoning and the consistent system of subsequent communication. Also an effortto unearth the law of reasoning and communication through movements in danceemerged consistently throughout the 20th century, and it is possible to see thatmovement language has been recognized as a communicative sign system just likesemiologic methodology, and to put forth effort in building and spreading such asystem. Headed by F. Delsarte, movement theorists including R. von Laban and E. Dalcroze approached and structuralized movement scientifically and this becomesthe foundation of the sign of dance. They tried to understand the human body inwhich signs are expressed and to reveal the sign principle accordingly. Also, thechoreographers of modern dance developed their own languages and began toestablish dancing movement in accordance with the sign principle. The structuralapproach to movement and meaning by the choreographers of modern danceAbstractstands on the same principle of the research method of a semiologic view. Audiences who view modern dance must have been able to experiencemaximized appreciation of art when the principle matched the logic of the creationof signs by the choreographers while interpreting the signs against their ownbackground. The theories of critics and leading artists in modern dance may be theresult of constructing the logic of a signifier and meaning of such modern danceand of trying to have this recognized by the audience. Through the build-up of theprocess, modern dance has been poised as a beloved modern art that is able to reflectthe zeitgeist of modern people and to express the search of meaning that the peopleof the times tried to pursue.
  • 2.

    An Exploration and Verification of Structure Factors of Expressive Activities Based on Instructional Design Theory of Constructivism

    Ji Young Kim | LEE DONG SOO | Hyunjung Park | 2014, 48(3) | pp.39~63 | number of Cited : 4
    Abstract PDF
    This study is to explore the structure factors base on constructivisminstructional design theory that values inner growth of the learners in thestandpoint of instructional conditions, instructional methods and instructionaloutcomes and measurement tool for quantitative assessment. The measurementtool of DID is comprised with 3 of constructional concepts such as instructionalconditions, instructional methods and instructional outcomes and 11 of subordinatescope and 24 questionnaires. Detailed structure factors are as follows: First, danceinstructional conditions are comprised with 4 sub-factors of dance specialknowledge, teaching object, learner characteristics and limitation with 8questionnaires. Second, dance instructional methods have 3 sub-factors oforganization strategy, conveyance strategy and management strategy and 8questionnaires. Third, dance instructional outcomes have 4 sub-factors which areeffectiveness, efficiency, attractiveness and stability and 8 questionnaires. Therefore,the ideal dance instruction can be made into concept of education that instructionalconditions and methods and outcomes are combined with balance by professionaldance educators. Also implicated are dance instructional design should beapproached by systematic design based on prescriptive instructional theory ratherthan presentation of orderly and systemized instructional outcomes.
  • 3.

    The Characteristics of Psychological Expressions Shown in the Process of Modernization of the 20th Century Dance

    Ilhwa Na | MalborgKim | 2014, 48(3) | pp.65~89 | number of Cited : 1
    Abstract PDF
    The purpose of this study is to analyze contemporary discussions overpsychology of art comparatively with the characteristics of psychologicalexpressions shown in the process of modernization of the 20th century dance. Themodernization of the 20th century dance shares modernism’s ‘existing systemand criticism over tradition’ and ‘subjective experience and individualistic’characteristics. Also, regarding the psychological expressions of modern dance andmodern ballet, major discussions and comparative analysis of experimentalpsychology, psychoanalysis, and Gestalt psychology show that the modernizationof dance gave and received influence with the ideology of the time. There has been no research so far that deals with psychological expressionsshown in the 20th century modern dance in relation with psychology of art of thattime. This study is significant in that it has discovered the contact point that art ofdance exchanges with the ideology of the time beyond a certain choreographer’sexpressive method or a microscopic view to a dance work and also suggested amacroscopic point of view that can figure out the position of dance among theaesthetic flows of the other arts.
  • 4.

    Polarity Shown in the Port of Laban-Based Psychological Jung

    KuyngHee lee | 2014, 48(3) | pp.91~109 | number of Cited : 5
    Abstract PDF
    This study is about the relationship between contrasting traits in Laban’s effortselements and Jung’s psychological functions. Laban applied such principles ofopposition of Jung, that is, polarity to efforts theory. Efforts are divided intoaccepting trait and resisting trait. In Jung’s recognition function, sense is dividedinto strong and light movement toward weight, intuition into slow and fastmovement toward time. And in judgment function, emotion is divided into liberaland controlling movement toward flow, and thought in space is divided intomovement of direct gaze, and indirect and various gaze. Laban asserts that spirit related to movements, that is, understanding of innerattitude is crucial clues to help understanding of individual or group and it alsodoes important roles in forming harmony. Jung also asserts that when we mentionabout spirit, we have to consider the dual structure of the mind certainly andalways have to consider both consciousness and unconsciousness. In this study, the researcher described the trait of Laban’s efforts within thescope of extremely common and universal human nature. But the researcher thinksthat understanding of the most common and basic effort of human is meaningfulas basic data for understanding daily movements and furthermore thepsychological functions being implied by movements in dance art. Therefore, it is thought that we would be able to study psychological functionsin movements or analytic approaches of movement research by means of moremicroscopic study of dancing later.
  • 5.

    A Study to Compare Women’s Body Images Found in the 19th Century Dance Works - Focusing on 「Chunangjeon」 and 「Giselle」 -

    Lee Seo Hyeon | 2014, 48(3) | pp.111~139 | number of Cited : 0
    Abstract PDF
    The body is not a single material not implying any meaning in it but achangeful product of which meaning is produced within the society that isconstantly changing. This study develops its discussion under the premise thatwomen’s body images in dance works were expressed in the extended form ofsexual discourse during the latter period of Joseon and Victorian Age havingsimilarity of time as the 19C and also strict recognition on women’s body. First of all, this study analyzed women’s body images expressed in danceworks comparatively by understanding the sexuality formed in the 19C, late Joseonand also Victorian Age, when they had historically strict, sexual recognition. Andfor the discussion, this study analyzed women’s body images in the two ages basedon Foucault’s viewpoint that sexuality gets to be formed with the influence ofsociety and culture. Examining the works of the two ages based on Foucault’s pointof view, the paper has found that even though socially suppressed women’s bodywas expressed in common in the two ages, women’s body images did not appearin the same way. The works in late Joseon could not be freed from the images ofwomen suppressed under the patriarchal ruling ideology but expressed sexualimages moderately. On the other hand, the works in Victorian Age expressedsexual images deviated boldly from the body recognition that was strictlycontrolled in the society. Therefore, women’s images expressed in the artistic worksof the two ages were either produced in the way to restrain sexuality formed insociety or deviated boldly from it, and they implied the socio-cultural perspectivein them. AbstractTherefore, this study is significant in that it discovers the fact that women’sbody images in the dance works contain socio-culturally constructed sexuality. Thisallows us to recognize again the importance of social roles of dance which takes thebody as its medium more than any other type of art.
  • 6.

    A Study on the Direction of Choreography Education Depend on the Characteristics of Musical Works

    임란정 | Son Kwan Jung | 2014, 48(3) | pp.141~169 | number of Cited : 4
    Abstract PDF
    The purpose of this study is suggesting an educational direction for the dancechoreography professionalism in musical works in consideration of the expandingmusical market in Korea. For this, this study selected global and domestic musicalworks, in which dance element has heavy weight. After verifying the characteristicsof dance movement in the works, this study suggests a systematic educationprogram for professional dance choreography. The contents of this study are; (1)theoretical approach on dance in musical performance, (2) drawing of dancemovement characteristics required for actual musical site analysis, and, (3)suggestion of choreography education program to secure professionalism in dancechoreography used in musicals. The contents of theory education, practice education and creation educationto be included in the professional choreography education for musical aresuggested as following by considering above characteristics of choreography. Basedon the education content above, following stepwise education course is suggested. The stepwise education course consists of basic step, intensification step and siteadaptation step. At the basic step, students will receive theory education andpractice education. In the intensification step, theory education, practice educationand creation education can go on in parallel. At the site adaptation step, theeducation content suggested from the aspect of creation education will be given.
  • 7.

    Development of the Basic Korean Traditional Dance Lesson Program Taking Advantage of Minyo for New Silver Generation

    Seung-hye Jung | Ahn Byung Ju | 2014, 48(3) | pp.171~226 | number of Cited : 3
    Abstract PDF
    The purpose of this study is to develop the Basic Korean traditional dancelesson program for future new silver generation. For the first step of developing Korean traditional dance lesson program,related literature research was carried out with consideration of demand of Koreantraditional dance and characteristics of learning nature of elder generation. For thesecond step, total 18 videos were analyzed and basic movement systems of Koreantraditional dance were developed to establish detailed education program. Then,program was restructured based on the learning capabilities of new silvergeneration and ultimately Korean traditional dance education program wasfinalized in conjunction with the purpose and goal of education, education content,education method and supplementary material. Detailed research results arefollowing;First, based on the purpose and the goal of Korean traditional dance educationfor new silver generation, target for this study was set as “Self-realization andimprovement of quality of life, maintaining health and promoting friendship byvoluntary participation for Korea traditional dance program and ultimatelypreparing opportunity for participating social activity by developing selfconfidencethrough participating of performance.” In order to achieve this target,short-term goal and long-term goal were actualized and detailed cognitive,affective, physical target was set. Second, in order to select Korean traditional dance education content, basicforms of Korean traditional dance movements were developed. Total 36 motionsfor the upper body and 21 motions for the lower body were selected. Upper bodymotions were classified into three categories; stop motion, movement motion, andconnection motion. Lower body motions were classified into four categories;standstill motion, movement motion, spinning motion and jumping motion. Education contents were selected and structured based on the principle of validity,principle of primary of educational transfer, principle of consistency, principle ofsequence and principle of integrity. For the pre-requisite of composition of content,contents were classified based on the difficulty. Upper and lower body motionswere classified into five difficulty levels. Especially, additional movement tofamiliarize basic feet movement was added to lower body motion. Third, for effective education of Korean dance lesson program for new silvergeneration, five education methods are proposed for this research andsupplementary materials are developed. First method is reducing pressure fromlesson by developing close relationship with learners. Second method isimprovement of self-confidence and sense of accomplishment by proposing shorttermlearning assignment. Third method is providing sufficient practicing timethrough exercising each single movement. Fourth method is active and positiveattitude for accepting any feedback and re-assigning role accordingly. Last methodis attending unofficial dance activities and participating dance related event. Supplementary materials were posted and shared through internet by means ofvideo. Fourth, Korean dance lesson program developed from this research wasstructured as 12 weeks program of individual movement assignment and basic folksong movement. Especially, difficulty level of basic folk song movements werebetween 4 and 5 with “Jindo Arirang”, “Boat Song”, “Nodel Riverside”, “Tae-PyungGa”. For each song, 3 months were allowed for learning period. In addition to thesefolk song movements, Chun An Samgury dance was developed for official event.