Park Young-in, along with Choi Seung-hee and Jo Taek-won, is regarded as a central figure of Korean modern dance. This is because he had brought a new sensation to Korean modern dance and actively worked in a foreign nation, which was unusual when he was young. He has done many experimental performances, serving as a pioneer of modern dance.
Nevertheless, he has never performed in Korea. He had lived in Japan, giving performances under his Japanese name Kuni Masami. Therefore, no in-depth studies have been carried out on him and his dance.
This study examines his life with a focus on his early dance performances and explored how his performances in a foreign nation had been shown by Korean media. The study is significant in that it seeks a new possibility of studies of Park Young-in with a focus on his view of dance.
The purpose of this research was to develop a creative dance education model for grade-schoolers from multi-cultural families. A creative dance program of twelve classes was conducted for twelve grade-schoolers of multi-cultural families so as to verify the validity of the model. As a result of a survey, the creative dance education model materialized educational goals, contents and evaluation methods and organized by total three stages of self-awareness, movement expansion and emotional expression. Also,changes before and after the fulfillment of the program were verified in physical, emotional and sociocultural fields so as to verify the validity of the model. In the physical field, flexibility showed statistically significant results and self-efficacy test verifying the emotional field showed statistically significant changes in the intelligent field and the socioemotional field. The sociocultural field conducted a qualitative analysis through the interview with objects, and positive changes were shown in all of thefields.
As the society experiences a dramatical change, the concept and character of practical dance are also changing. Practical dance had passed a dark age in 1980's, however practical dance developed and changed with the influence of the needs of the times. Now, practical dance gets recognized its educational, social, academical values, and it meets a new spring. In the present situation, this study examines current status of practical dance in the society and analyzes the tendency of the developing practical dance. By analyzing previous studies and selecting data, this study finds that current practical dance has a tendency of specialization through University education, formation of performance as an art, opening new professional job positions These current tendency will continue and accelerate with the change of society and public culture. This study will have the value to shed a new light on a way to develop practical dance in the future.
This study intends to suggest a future direction of creative modern dance, which moves toward the multicultural age in the future. This study analyzes the tendency of creation in dance creation site, the cultural phenomena of Korea, and current status in regards to whether or not creative modern dance for a variety of audience is made. As a result, this study suggests following requirements for the process of creation of modern dance in the multicultural age.
First, creation of modern dance in the multicultural age needs positive understanding of other cultures.
Second, awareness of publicness is necessary in creating modern dance.
Third, it is necessary to provide opportunities to perform more creative activities through dance education by enabling them to improve their ability of interpreting culture and adaptability to social changes.
This study aims to interpret the atypic of contact improvisation as rhizome. As Deleuze and Guattari’s concept of rhizome, contact improvisation is open to a constant change by a external impulse and does not have a internal goal to achieve or a complete composition with a climax. Like plateaus, it is for the intensity of process, not for the certain result. The purpose of contact improvisation is in ‘becoming’ rather than what it ‘is’. It is for the new way of thinking and moving without blocking ourselves in the dance territory. Through contact improvisation, dancers are able to break up the form and cliché of traditional dance expression or movement and shows the force, which is sensation itself. It is for drawing a map to open up the body’s sense and virtuality, instead of copying the Idea(i.e. ideal form or beautiful shape). Contact improvisation opens up the new way of thinking as rhizome.
This was an experimental research to verify onstage effects of a dance education in a college for psychological effects such as anxiety, expectation, and retry. The dance education program was constructed differently for an experimental group(n=33) and for an control group(n=31). Results of this study were as follows:First, anxiety levels of pretest were similar for both experimental and control group, on the other hand levels of anxiety for experimental group demonstrated a gradual decrease. Second, levels of expectation of control group showed a gradual decrease. Third, levels of retry for the control group demonstrated a standstill, while those of the experimental group showed a dramatical increase. The results indicated that an individualized goal setting of the experimental group for the onstage performance was an effective educational method to promote positive psychological effects such as decreasing anxiety, increasing expectation and retry of a task.
This paper has the purpose of utilizing the four basic epic theory of literature therapy and then interpreting the epic of dance of Ch’ŏyong Dance based on it. As a result, the ‘son and daughter epic’, which focuses on ‘conformity’, is equivalent to ‘Ho (呼)’, which means breathing out and ‘knee bend’. The ‘the man and woman epic’, which focuses on ‘selection, corresponds to a ‘walk’. The ‘husband and wife epic’ which focuses on ‘continuity, corresponds to ‘spinning’. The ‘father and mother epic’, which focuses on ‘upbringing’, corresponds to ‘upper body movement’ coming from ‘Hep(吸)’ By the epic of Ch’ŏyong Dance of the current Ch’ŏyong Dance and that of Akhakgwebeom, this research finds that the ‘continuity’ epic is reduced and ‘upbringing’ epic is expanded.
In the research, the relationship between indeterminate form and inter-performativity of Talchum has been investigated. It is possible to add to, delete, and change the text of Talchum according to its situation. Furthermore, time and space in Talchum can be changed according to the surroundings and conditions of a performance. The formative indeterminacy of Talchum would drive its audience to participate in some situations of the performance. Teum enables the performance to be reciprocal while making the opportunities of relax and chance, digression and participation, variation and creationbetween the actors and the audience. Therefore, Talchum has to include the activities of audience’ responses, and its meaning has to be moulded at the scene. Some characteristics of Talchum as a performance art lie in the transferred experience of its audience through the variableness of formative indeterminacy and improvising events, and the transfer into actor.