2004, Vol.13, No.13

The Korean Journal of Dance Studies 2023 KCI Impact Factor : 0.93

pISSN : 1226-900X / eISSN : 2713-9468
https://journal.kci.go.kr/krsds

The purpose of this study was to establish new analysis methodology for Seung-Moo movement based on the Yin-Yang and Five Elements theory. The following two were characterized as the result of this study: 1. The system of principle of movement with synergy relationship represented as follows. a) It represented a gradual moving line so that breathing is also gradually changed in several types. b) Every movement is intended toward same direction in space. c) The flow of movement is directed into Taekuek line. 2. The system of principle of movement with mutually destructive relationship represented as follows. a) It seems a dynamic form of movement because the range of movement is large. b) It would not represents natural Taekuek line. As a results of this study, the newly developed analysis method can be applied to choreograph as well.

The purpose of this study is to analyze the characteristic of Pina Bausch’s choreography shown through review of her main dance works. Since she was appointed as an art director of Wuppertal Tanz Theater in 1973, she introduced a new form of modern dance, called Tanz“Theater”. She has been highly evaluated due to her works which contain the combination of German Expressionism with American Modern Dance. As a result of this study, a characteristic of her choreography is as follows; Firstly, she introduced a new form of expressionism, which focused on the impromptu elements of a play. Secondly, she made the dance come out of the narrow-defined "choreography" and expanded the field of dance by introducing a film technique, “Montage” into dance. Thirdly, she tried to deliver an unique auditory image to audience by combining various genres of music in her dance works. Fourthly, She expressed situations in her dance works more realistically and concretely by using a language as a theatrical element. Finally, she utilized usual movements rather than specific dance techniques, by combining and transforming objective images and movements which a body can experience in everyday social life. Pina Bausch tried to break from the typical dance form and develop her peculiar expressionism. Her creative spirit presents unlimited possibility to choreographers and encourages them to make new forms of modern dance.

This thesis is aimed to investigate into the developments of Korean dances in the special period in the Korean history or the emancipation period (1945～1950) and their historical significance. Korean dances had experienced many changes in that period. Since the emancipation of Korea, the conflicts between leftists and rightists had direct influence on the developments of Korean dances. Immediately after the emancipation, various dance organizations had been formed including the Headquarters for Constructing Joseon Dances and the Association of Joseon Dances and Arts. All of these organizations were started as a sub-organization of many cultural and artistic bodies serving the ideological lines of leftists and rightists. Remarkable things at the time of the Korean emancipation include the incident that Seung-hui Choe and Teak-won Jo, who were renowned as new dancers at the period of Japanese forceful occupation of Korea, left the Korean dance circles since they were branded and criticized as pro-Japan dancers. Then, the Korean dance circles lacking in superior dancers was led by fresh dancers such as Gwi-bong Ham, Dong-in Han, Chu-hwa Jang, Ga-ya Choe, and Ji-su Jeong. However, the Korean dance circles were faced with an interregnum when most of the above fresh dancers went to North Korea during the Korean War. Noteworthy dance activities at the emancipation period were displayed by Gwi-bong Ham's Research Institute for Joseon Education and Dances, Dong-in Han's Seoul Ballet, and Cheol-min Mun's dance criticism whose professional comments were the pioneer in that field. Korean dances at the time of the emancipation had such historical significance that various dance organizations were formed to encourage the solidarity sense of dancers, raise the voice of dances towards the society, and paved the way to the system of dance education and criticism.