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2015, Vol.57, No.6

  • 1.

    The M eanings of Disability Dance in the Works of Candoco Dance Company

    Kim, Hyunjung | 2015, 57(6) | pp.1~18 | number of Cited : 1
    Abstract PDF
    This paper explores the meanings of disability dance in Fin Walker’s The Journey (2005) and Athina Vhala’s In Praise of Folly (2005) of Candoco Dance Company. There are limited understandings of disability dance in South Korea -- regarding disability dance as dance education and therapy for the disabled people, or from the perspectives of sympathy, discomfort or human victory. Therefore, drawing on Candoco-related literatures, websites, DVDs, pamphlets, and reviews, I discuss disability studies, three models of disability (medical, social, and cultural model), and Japanese Able Art & British Disability Arts Movements; and I investigate the concept of disability arts and their challenging ways of representations of disabled people. Then, I explore the mission statement, performances, auditions, and activities of Candoco, and analyze the meanings of disability dance in the two works. I argue that Candoco’s disability dance challenges stereotypes of disabled people and recovers their subjectivity, reconstructing dance aesthetic issues.
  • 2.

    A Study on the Social Contribution Activity of Dance Art and Corporation in the Artnomics Era - Focusing on Art & Business Project of Korea Mecenat Association -

    Bae Su Eul | kim, sun-jung | 2015, 57(6) | pp.19~37 | number of Cited : 4
    Abstract PDF
    The aim of this study is to suggest the implications of social contribution activity of dance art and corporation in the artnomics era by analyzing the cases and categorizing main activities. This study focuses Art & Business project of Korea Mecenat Association. The results of this study are as follows: First, the yearly analysis shows that it is extremely rare for a corporation and a dance art organization to sustain and prolong their alliance for a long term. Second, the detailed project analysis shows that it tends to countermarch for the balanced development of detailed project due to low performance of alliance project with major companies over middle and late phase of Art & Business project. Third, the case analysis proposes four types of social contribution activities of dance art and corporation, which comprises ‘purpose of social contribution’, ‘purpose of marketing’, ‘purpose of welfare benefits’, and ‘purpose of cultivating the talented person in art’.
  • 3.

    Effect of School M aladjusted Adolescents’ Self-Concept Factor for Peer Relationship - Focused Adolescents Who Were Participated in a Dance/Movement Therapy Program -

    Na Yung Kim | 2015, 57(6) | pp.39~52 | number of Cited : 2
    Abstract PDF
    The purpose of this study was to investigate how school maladjusted adolescents’self-concept factors affected their peer relationship, after they participated in a dance/movement therapy program. The subjects of this study were 97 adolescents, who were referred to a dance/movement therapy program, since they had school maladjusted issues. The dance/movement therapy program of 12 sessions was consisted of four stages based on Erikson’s psycho-social development theory. Three groups were delineated by the frequency of dance/movement therapy participation. Results of this study indicated that the low rate of participants showed a low relationship with the self-concept factors and peer-relationship. Meanwhile, the middle and high rate of participants demonstrated a significant positive relationship with the personal initiation and the peer-relationship. However, a negative relationship with the self-esteem and the peer-relationship was found in those groups.
  • 4.

    A Study on the Development of Korean Dance and Its Response to the Confrontation in the Liberation and Confrontation Period

    Kim Hoyoen | 2015, 57(6) | pp.53~68 | number of Cited : 1
    Abstract PDF
    This study aims to review a new development of Korean dance and its response from August 15, 1945 to June 25, 1950. This period is called as the liberation and confrontation period. In this period, Korean dancing art strived to construct a new Korean art that embeds the Korean spirit. This trend was realized by various creations by new choreographers and was suggested by Chosun Dancing Art Association, and so on, as the collective movements by a variety of groups. Nonetheless, it was notable that the dancers in this period selected South or North depending on their ideology, leading new organizations of the dancing culture. This study has the significance to suggest how the South and North dancing arts were generated with this trend and have been developed so far.
  • 5.

    Extensions of the Body and Its M eaning in Contemporary Dance - Focusing on J. Bel, A. Preljocaj, X. le Roy’s Works -

    Ilhwa Na | MalborgKim | 2015, 57(6) | pp.69~87 | number of Cited : 5
    Abstract PDF
    The body is the core medium of dance pieces and the main element of appreciation. Contemporary thoughts of the body have been important standards in determining the meaning not only of dance but also artistic value. This study observes perceptions and concepts of the body from late 20th century phenomenology to post structuralism and discusses body expressions and meanings in contemporary dance, which are comparable with these body concepts from the aspect of ‘body extensions’. The study divides and analyzes the meaning of dancing body in contemporary dance into ‘nonsubject-body, power-body, becoming-body’ that accepts Merleau Ponty, Foucalt, Deleuze’s body. Also, arguments for the body expressions and meanings are illustrated through the practical discussion and interpretation of Jérôme Bel, Angelin Preljocaj, and Xavier le Roy’s works. The body in 21st century contemporary dance will broaden the boundaries of the art of dancing through its expressive domains and the expansion of meaning.
  • 6.

    A Study on the Narrative and the Structure of Goseong Ogwangdae Leper Drum Dance style - Focused on the Jong-bok Heo’s Version -

    Park. In -Soo | 2015, 57(6) | pp.89~106 | number of Cited : 3
    Abstract PDF
    Goseong Ogwangdae Leper Drum Dance has made much progress since it was designated as one of the important intangible cultural properties in 1964. The dance style and narrative structure had been developed naturally along with the performances of many performers, until the late Jong-bok Heo reorganized them in 1992. A Closer investigation of the structure of the Leper Drum Dance, which the late Jong-bok Heo organized shows that it is roughly divided into three parts, which play a role of showing the changes of feeling of the lepers. In its introduction, the agonies of the lepers are expressed through the lives of the lepers, and in the middle of the dance, the frustration and hopelessness are expressed, not obtaining the small drum while trying to obtain it. Later, the dance of joy is performed with resolution of the deep sorrow, obtaining the small drum with toil.
  • 7.

    Peak Performance Experience in Korea Dance

    cho youngju | 2015, 57(6) | pp.107~122 | number of Cited : 1
    Abstract PDF
    This study examined the peak performance experience(condition for peak performance, the experience and the result) in Korea dance. 76 dancers(15 male dancers and 61 female dancers) in the national/city dance companies in Busan and Changwon area participated in an open survey. The result was processed with inductive content analysis as follows. First, peak performance required technical, psychological, physical and environmental preparation, and the dancers experienced integration of movement and recognition, confidence, flow, autotelic experience and self-transcendence a peak performance. After a peak performance, dancers’ performance improved in comparison to performance before a peak performance. This result showed positive effects and re-experience of such a peak performance was a multilateral experience. A peak performance has positive effects including better self-management ability and better mental ability on the following performances. These results can provide practical insights for better understanding of a peak performance in dance and efficient utilization of a peak performance.
  • 8.

    Dance and Woman in W illiam Butler Yeats’s Poet

    Hyun Sook Huh | 2015, 57(6) | pp.123~138 | number of Cited : 1
    Abstract PDF
    W. B. Yeats’s poetry as a whole is to be read as his efforts to share a woman’s desire to express herself. Specifically the image of ‘dance’ is developed through his entire stages of poetic changes in signifying his mind towards a woman. In his early poems the immortal fairies dance separated from human reality. In this respect the dance is just an image of the heavenly world and lacks the human blood. However, the dances in Yeats’s poems written in the early 20th century are embodied with female dancers. With this embodiment the dance image forms the equation of the form and contents and expresses Yeats’s own concepts on women as a medium of “Unity of Being.” The use of a female dancer for a mystic heroin signifying the “Unity of Being” suggests his achievement of full understanding of human beings as well as dance.
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