2008, Vol.24, No.24

Digital Aesthetics of Contemporary Dance - Focused on ‘irtuality’and ‘nteractivity’-

MalborgKim , Jisun Lee | 2008, 24(24) | pp.1~27 | number of Cited : 17

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The purpose of this study is to focus on the adaptation of digital technologies in the contemporary dance and clear how these technologies affect on dance from the media aesthetics’point of view. Many of contemporary dance use the digital technologies, and it implies not just a usage of new tool but a suggestion of new art concept. First, the virtuality of digital media causes dance lost a physical existence by changing the dance space from theater to cyberspace or laboratory circumstance. Because of the time and space characteristic in “yber” the digital dance has a feature which is placed in interactive and limitlessly transformational network. And second, the digital media artworks promote interactivity between dancer and other medium. The movement data from the mechanical devices is visualized as a new movement type or transformed to other sources like music and lighting. This interactivity brings a new concept of choreography. The traditional way already blurred by improvisation or dancer’ participation, the concept of choreography in digital media work has more broaden. Open text goes beyond prefixed boundaries on the possibility of multiple interpretations as well on the favor of audience’ active participation and mingling with other works in online. The more works keep pursue the new possibilities through the interchanging, interconnection and collective creation, the more dance concept has a tendency to the hypertext. So, dance in cyberspace is no more a genre type which has aura as an original ephemeral artwork but a matrix which has a ubiquity in internet network, an intertexuality and hypertexuality with other genres. In conclusion, rather than a one-way spectacle, a choreographical concept in digital dance suggests an interative event or happening, it is proposed as a simulation like game or animation. Hereby, dance has reestablished an original ritual function, recreational participatory communication system which has limiting as theater art.

Meanings of Body and Expression in Dance Art Based on Spinoza’ Body-mind monism

Ilhwa Na | 2008, 24(24) | pp.29~55 | number of Cited : 7

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The paper attempts to interpret meanings of body and expression in dancing art through Spinoza’'s body-mind monism. Dance art hasn’'t been a major topic in discussions of philosophy of art and general aesthetics for a long time due to men’'s body identity. Further, at the bottom of this criticism, there is mind-body dualism that divided men’'s mind and body in dichotomy. Hence, the paper poses a question on the notion that dancing art through men’'s body hasn’'t been justifiably credited of its artistic value due to these criteria based on mind-body dualism. Further, as a refutation, the paper based philosophical progression of Spinoza’'s body-mind monism, and through this, the paper discussed how meanings of body and expression in dancing art are produced and how they’'re to be interpreted. One can divide characteristics of the Spinoza’'s body that the paper examined into largely three parts. First, Spinoza’'s body has equivalence to mind. This becomes apparent in the system of his body-mind monism that develops the notion that world is composed of various aspects that express the essence of an entity. Moreover, this existential equivalence of body and mind shows that they possess epistemological isonomie as well. On this, second, Spinoza’'s body and mind are situated in equivalent position and each of their expressions combine to form and express ideation about the entity. Lastly, third, men’'s body, through transfiguration and relationship with the other, can reach voluntary manifestation of conatus that sustains the essence of the existence, and this implies the possibility of enhancing and developing the ability of existence. As can be known also from Hegel’'s criticism, Spinoza’'s philosophy is a philosophy of affirmation, which doesn’'t embody negativity. Further, within this atmosphere of affirmation, men’'s cogitation and body can each be credited of its equivalence and interchanged. With this background, the place men’'s body can develop their existential ability is the state of beatitude and dominion of the genuine freedom that men can enjoy, where Spinoza wanted to reach. The author hopes that the paper based on Spinoza’'s philosophical thought can be something for the dance art to stand on for its pursuit of beatitude and freedom.

A Comparative Study on Critical Views of Théophile Gautier and André Levenson

Moon, Aeryoung | 2008, 24(24) | pp.57~83 | number of Cited : 1

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Critiques must encompass a structured criterion followed by logical evaluation in order to satisfy the readers. For example, intrinsic critics concentrate on the formal properties of the art object itself. Extrinsic critics, by contrast, argue that information about the work’'s sources, the life of its creator. The objective of this study is centered on exhibiting the specific characteristics of Théophile Gautier’'s and André Levenson’'s dance critique. Théophile Gautier was the world’'s first professional dance critique during the periods between 1830s - 1870s. André Levenson’'s vividly descriptive pieces reveal a consistent theory of beauty and meaning in dance in the highly varied dance scene of Paris in the 1920s. As he passed the beginning stages of critiques, Gautier transformed his perceptions toward accepting the ‘'école parnassienne’' aestheticism rather than focusing on the romanticism. In his critics, ‘'Fanny Elssler in “"La Tempête”"’' and ‘'Revival of “"La Sylphide”"’', Gautier was an idealist who evaluated the physical characteristics of ballerinas on a hermaphrodical standard and perceived the imagery of dancing greek sculptures as the supreme form of ballet. Regardless, he always positioned himself as an aestheticist, a fervent admirer of “"Art for Art”. André Levenson was described as a critic who had the “ower of translating the dance into words. In his critic, ‘he Art and Meaning of Isadora Duncan’ Levenson emphasizes the mimetic and figurative nature of Duncan’ dances. He credits her with having created a new beauty, but he argues that the sources of this beauty are not to be found, as is commonly believed, in antiquity. Rather, Duncan generates an aura that owes more to the English Pre-Raphaelite artists than to those of ancient Greece. In conclusion, Gautier was a nineteenth-century Pagan, Levenson was one of the few dance writers who deserves to be called a ‘cholar-journalist.’

The Critical Reception of Korean Contemporary Dance

sun-myung OH | 2008, 24(24) | pp.85~112 | number of Cited : 1

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The Research on Communication Aspect of Dance Audience in Digital Era

Heejoo Rhyu , An BYong JU | 2008, 24(24) | pp.113~135 | number of Cited : 6

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The development of digital media makes it possible to create new forms of communications based on digital technology beyond simple agency of transferring information. Digital influences every parts of art transcending existing communication method so relation between work and recipient came to be reconsidered. Therefore, the research divided the relation between dancer and audience in online communication environment utilizing internet, one of digital media, into ‘implicity of audience participation’ ‘ulti-meaning of dance’ ‘yber space as dance discussion’ interaction between dance and audience’ ‘articipation of audience as co-writer.’and examined the characteristics shown in ‘he aspect of online communication of dance.’ Composition of online communication of dance can be regarded as having composition of circular communication. The audience as subject of recipient can not have but have influence of interpretation of professional critics, media, or interpretation of professional dance organization in digital media. Furthermore, they exchange opinions with mania and other recipients, another recipient subject possessing same position, and correct their process of shaping meaning. Recipient subjects understand work through traditional concept recognizing work and interpret the work in their own meaning. In this process, traditional concept and new notion of themselves conflict and form new meaning ground. And they form ultimate new meaning ground through interaction with others watched the dance they have seen. Recipient subjects and product subjects induce interaction in four aspects in the process, that is the first, audience and writer(dancer) meet in person by dance performance, second, they perform interaction where traditional dance concept and that of audience conflicts, third, interaction between newly-made meaning ground and artist formed, and the last, these interactions influence the work of dance artist and forms circular dance communication. Online communication in dance art has structural characteristics performing continuing circulation and meaning of dance in online communication has characteristics which has to achieve multi-meaning under various influential structures. The whole process performs circular relations so audience and dance artist interact in person.

The Relationships of Career Barriers and Career Preparation Behavior of College Woman Major in Dance

Lee Kun Mi | 2008, 24(24) | pp.137~153 | number of Cited : 12

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A Study on Dongrae Gwonbeon - Centering on the contents of learning and performing activities -

Lee Ju Hee , Choo Jung Keum | 2008, 24(24) | pp.155~180 | number of Cited : 9

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This is a study on Dongrae Gwonbeon (association of singing and dancing girls), which was famous nationwide and in charge of the function of traditional public entertainments on the stage of Oncheonjang in Busan, at the crucial moment of demise of traditional arts owing to the imperialist Japan’ liquidation policy of national culture. Especially, the investigator focused on the contents of learning and performing activities. When the Gyobangcheong, an affiliated office of Busan Susa (governmental agency), was dismantled with the Japanese annexation of Korea in 1910, the socalled Hanryangs who were enjoying their lives collected contributions to establish autonomously Dongrae Gisaeng (singing and dancing girls) Association, the predecessor of Dongrae Gwonbeon. Its title was once changed to Dongrae Yegi (Gisaeng) Association in 1912, but called as Dongrae Gwonbeon (Japanese style term) until the 8·15 liberation. Although Dongrae Gwonbeon played a great role of promoting Korean classical music and Busan’ traditional public entertainments, now it only maintains its pulse as a corporate juridical person『, Dongrae National Classical Music Promotion Association』. Dongrae Gwonbeon played an important role in the history of Korean dancing and in the development of Busan dancing. Busan’ traditional public entertainments has been transmitted and developed by Gwonbeon Gisaengs at the crucial moment of demise after the dismantlement of Gyobangcheong. In addition, it was the only place in which our traditional public entertainments were taught under such a unique condition as Japanese occupation by force. Thus, Dongrae Gwonbeon is meaningful in the history of Korean dancing. It was a delivery room of traditional public entertainments at the crucial moment of demise of it at the times of Japanese occupation by force. Furthermore, it was the only academy of traditional arts in which traditional public entertainments were taught. It also played the role of training place of traditional public entertainers. When it was difficult to stage a performance, Dongrae Gwonbeon was the stage of performance and the Gisaengs of it became a performing arts company. Just like this, Dongrae Gwonbeon has great values in the history of Korean dancing.

Learning to be Creative: Experimenting with Visual Media in Dance Ethnography

Ok Hee Jeong | 2008, 24(24) | pp.181~215 | number of Cited : 3

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Revising Oscar Schlemmer’ Concept of Dance

Chung Hye Jeung | 2008, 24(24) | pp.217~242 | number of Cited : 2

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The Correlation Between the Movement Principle of Nancy Topf Based on Body Awareness and the Movement Principle of T’i-Chi Ch’an

Cho, Eun Sook | 2008, 24(24) | pp.243~261 | number of Cited : 8

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Incessant awareness of body helps the alignment of body and efficient performance of dance motion, and it can also influence the process of making creative movement styles. In this context, those areas which are related to somatology as body awareness, body conditioning, and body movement therapy are providing a new paradigm for the discipline of dance. Nancy Topf(1942-1998), a post-contemporary dancer, formulated a technique based on body awareness and applied kinesthetic imagery to choreography and improvisation. From 1970s she had started to study, based on Ideokinesis theory, "the flow of energy," and she had provided a new direction of the interface between Ideokinesis and dance by expressing free motions through the application the flow of energy to body movement. The movements appeared on the work of Topf and her technique seem to be very static and inward-focused. T'ai-Chi Ch'uan, a Chinese traditional body training technique, is a martial art performing a series of consecutive movements to harmonize with awareness and respiration. T'ai-Chi means that everything is created and change is made through the interaction between yin and yang energies. Everything has different properties in its essence, and change is occurring through confrontation and unification of these competing forces. T'ai-Chi Ch'uan is a martial art which is weaving confrontation and unification of yin and yang continuously through body awareness. The basic motion of T'ai-Chi Ch'uan is a circle and it moves slowly and continuously form start to end. T'ai-Chi Ch'uan is often called "a moving meditation," which needs intensive mental concentration when it is performed. In this regard, the movement principle of T'ai-Chi Ch'uan and Topf's movement principle are very similar. The term "body awareness" has been studied from the 20th century in the West, but it consistent with "the monism of mind and body" which has been developed from long time ago in the East. The purpose of this study is to identify similarities between Tops' movement principle and the movement principle of T'ai-Chi Ch'uan. For the purpose, at first, the concept and definition of body awareness are discussed first, then the body awareness characteristics of the movement principles of Topf's and T'ai-Chi Ch'uan are explained. In addition, the similarities between Topf's technique and the movement principle of T'ai-Chi Ch'uan are reviewed.

Determinants of Dance Activity Commitment for College Students Majoring in Dance

CHOI SOBIN | 2008, 24(24) | pp.263~277 | number of Cited : 17

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KJCKorea
Journal Central

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

2008, Vol.24, No.24