2013, Vol.45, No.6

Study on Unfolding and Theatrical Style of Female Casts in Bongsan Talchum and Features of Late Joseon Period

김보람 | 2013, 45(6) | pp.1~22 | number of Cited : 0

PDF

The purpose of study is to examine the characteristics of female casts in Bongsan Talchum and the features of Late Joseon Period. The method of approaching history background and theoretical framework was based on specialty publication and selective research papers. This study is mainly divided into two features which are unfolding style and theatrical style to find out roles and characteristics of female casts. The unfolding style focused on appearance, exit, development, and feature of female casts, and the theatrical style considered on mask, costume, and dancing style. The result of study shows the characteristics and role of female casts. Additionally, social norms of the late Joseon period are divided into six features and analyze features and characteristics. First, a caste system in the late Joseon period was formed with majority of nobleman and minority of law-class people. The social change gave an influence on social chaos and criticized noblemen through cultural and artistic expression. Three traditional norms of the Confucian ideas such as predominance of man over woman, the seven valid causes for divorce, and the three norms for female,suppressed female life in the late Joseon period, and females were recognized as carrying on a family line. The social phenomena made female life suppressive and unsociable. Second, the study result of unfolding style shows the main patterns of appearance and exit. Sangjwa in Act 1 and Somu in Act 4 did not appear by themselves, and appear by riding a litter. Miyalhalmi in Act 7 and shaman actively appear themselves by walking. However, in the moment of exit, they have different style. Sangjwa and Somu left the stage by walking but Miyalhalmi left the stage by her husband. The results of theatrical style show the characteristics of mask and dancing style. For the characteristics of mask, mask of Sangjwa in Act 1 has a white face with red lips, and Somu in Act 4 represents beautiful woman by having a white face with wearing rouge. Compared to Sangjwa and Somu, Miyalhalmi in Act 7has a red face with many spots, lantern jaw, and deep-set eyes. It is the main difference between the beauty and the ugly. Shaman has a characteristic that shaman wears Somu’s mask but puts red ribbon around her forehead rather than rouge one´s cheeks. For the features of dancing style, Sangjwa takes a role of ritual dance, so dancing style is comparatively passive. For the features of dancing style,Sangjwa takes a role of ritual dance, so dancing style is comparatively passive. Somu has characteristics of voluptousity and coquetry to lure old man and Chibali by waist and butt movements. However, Somu introduces Acts by only dance, without having a dialogue. Miyalhalmi appears with having a conversation. Similar to Somu, there are many waist and butt movements in the Act, and the dancing style is very active. The main features are running, turning, and waving hands movements which represent the exorcism of praying a wish for Miyalhalmi’s death. Third, there were two types of females in Bongsan Talchum who were passive ugly woman and active beautiful woman. Other characters in the masque such as male characters show interest in active beautiful woman. This represents that the roles of male casts show his interest based on facial appearances and this interest is sexual love. Female casts in Bongsan Talchum have strong features. In the result, Bongsan Talchum has strong female characteristics and examines features of Late Joseon Period and social norms, including hunger, adversity, and male tyranny. Through the conclusion, the following findings were given:First, subjects of this study are some female casts such as Sangjwa, Somu,Miyalhalmi and shaman but examining all female casts in Bongsan Talchum is necessary for the following study. Second, based on the result of insufficient advanced study, it shows that the characteristic of female casts as well as social features and norms. It seems that studies on Gangryung Talchum, Eunyul Talchum, and Yangju Byeolsandae are insufficient. Thus, it is necessary to investigate on characteristics of female casts and social norms in each masque.

A Study on the Role of Dances Inherent in Korean Style Musical 「Saljagi-Opseoye」

Mijung Roh , CHUNG, EUI SOOK | 2013, 45(6) | pp.23~52 | number of Cited : 4

PDF

The purpose of this study is to examine the role of dances inherent in musical works through analysis of Yegrin Musical Company’s 「Saljagi-opseoye」which was first performed in 1966, positively using orignal form of advanced American musicals and combining traditional Korean dance and music, and left a landmark in Korea’s musical history. The study especially pays attention to ‘traits specific to Korea’. The study had findings as below. First, 「Saljagi-Opseoye」, using visual elements,showed typical Korean image with which any Korean could sympathize. Second,it emphasized value-laden concepts related with national identity evoking people’s pride that Korean creative musical was born based on our own materials and reflecting the country’s tradition and customs for the first time. Third, logic of the Western classic ballet by choreographer Lim Seong-nam was employed building on the country’s traditional dance, which provided basic conditions for this musical to be recognized as Korean style musical. Fourth, while the country’s traditional dance played a major role, ballet was added to the group dance and as a result hierarchical relation was formed between separated Korean dance and ballet. ‘Korean theme’, which brings its uniqueness to the forefront as such, must be very special one differentiated with other ethnic groups or states, and it can be said that such theme has been filtered through Korean’s basic characters and is related with finding of what was adopted in response to social requirements. However,while this musical was successful in deriving sympathy and pride as dance of Korean style musical, it failed to get recognition for unique characteristics of this dance. Therefore, we should go further than mere concern with how to produce high standard works well representing things Korean. The issue of how to reveal our own identity at this moment when the Western system and mode represented by ‘musical’ is normally established as an universal code, is directly related with the issue of our own identity. Under the circumstances, this study believes that success of Yegrin Musical Company’s 「Saljagi- Opseoye」can be a good example and concludes that when we analyze specific characters and causes of ‘Korean style musical’ from more objective perspective, its meaning and importance can be further expanded.

Discussion on the Positive and Negative Function of the Dance Survival Audition Program from the Perspective of Popularization of Dance - Focusing on <Dancing 9> -

Bae Su Eul | 2013, 45(6) | pp.53~79 | number of Cited : 10

PDF

The Dance Education Methodology Research Based the Mimesis Theory - Revolved around the Triple Mimesis theory of Paul Ricoeur -

Yi Byung Jun , Lee Yu Lee | 2013, 45(6) | pp.81~102 | number of Cited : 10

PDF

Studies on MIMESIS have been limited by aesthetic point of view, but various studies are recently conducted by interdisciplinary approach. Based on MIMESIS theory, dance education which is one sector of art education is popularized to inner expression by body beyond the range of art due to the expansion of humane cultural awareness. Since 2000, general people have participated autonomously and dance education has been actively conducted within institutional condition through the institutionalization of culture and art education promoted by government. From angles of dance education method and teaching/learning method, children can improve their individual identity through the expressive learning by play and general adults can improve theirs through the process to imitate existing art works. And, experts or soon-to-be juniors make Mimetic learning during the processes that seniors practice and roles are played on the stage. The process to learn art education expands aesthetic thoughts under the background of dance appreciation, criticism, performance audience and theoretical knowledge. In dance education, Mimetic learning will give emotional satisfaction by dance learning with learner's new experience, relationship with others, physical expression, etc. In addition, dance education will be the base of roles for humane interaction by getting out of the artistic characteristics through all of those things. Therefore, dance education which is conducted generally in school and society has been studied by various education methods as Mimetic learning process by objects according to the phenomenon of social paradigm. The discussion about dance education method shows triple Mimesis stages based on Mimesis of French analysis scholar, Ricoeur, that Ⅰ stage Mimesis is teacher's experienced behavior, Ⅱstage Mimesis is learner's imitation and Ⅲ stage Mimesis is reappearance of imitation. So, it shows the process that learners make triple Mimesis learning through the dance education. Therefore, teacher's empirical knowledge and capabilities in dance education make an effect on learners' ego, can bring structural change of behavior and show the study on capability of dance education methodology is necessary.

The Analysis of Pre-school English Ballet Program’s Pedagogical Rationale and Methodology

Jeong, Ok Hee | 2013, 45(6) | pp.103~131 | number of Cited : 5

PDF

It is estimated that 26 ballet staffing firms for pre-schoolers have popped up between 1997-2004 in Korea and sent their lecturers to various culture centers,leading to the boom of ballet as a liberal education. Intrigued by the popularity of its subgenre “English ballet”, this study analyzes the pedagogical rationale and methodology of pre-school English ballet programs in Korea. he research subject is “Julie’s English Ballet”, one of the most popular English ballet franchise staffing firms in Korea. Julie’s English ballet provides standardized classes all over country that are structured with supplementary textbooks, CDs,props, and teacher’s guide. The company advertises that through English ballet program, students can “learn English phonology and ballet movements during the critical period,” which reveals its pedagogical rationales. First, by mentioning “critical period,” it advocates the Critical Period Theory, suggested by Wilder Panfield, that the younger, the better one acquires a language. Second, the company suggests phonology as its methodological rationale, while the study argues that total Physical Response theory better fits the characteristics of English ballet program that emphasizes repeatability of both ballet and English-learning. Third,by combining English and ballet, English ballet is geared toward English Immersion Education, or Content-Based Learning in English. Conducting an ethnographic research on Julie’s English ballet, the research analyzed its curricular structure, characteristics, and pedagogical methodologies. According to the Content-Based Instruction model by Myriam Met (1999), Julie’s English Ballet seems content-driven rather than language-driven, in that dancemajored instructors teach it as a part of ballet programs. However, as English ballet’s curricular contents is divided into ballet and creative movement, the curricular imbalance between them results in the weakening of its pedagogical goals. Ballet is curtailed and marginalized while creative movement is emphasized. As lots of time and energy are spent on topic-based activities of creative movement,the whole class is transformed to be “English through Ballet (language-driven)”rather than “English for Ballet (content-driven).”eaching English AND ballet at the same time inevitably accompanies sacrifice of the educational effect. English ballet offers a learning context that is meaningful and interactive enough to help students learn English more easily and naturally. However, it has a danger to provide insufficient ballet experience to be considered as a meaningful ballet class, which is marginalized by English and creative movement. In that sense, while praising its achievement and potential to invigorate job market for dancers and cultivate ballet audiences, the dance field should also beware of the possibility that ballet in English ballet only remains as the sugarcoat of the pressure for English in the Korean society.

The Relationships between Participation Satisfaction, Sociality and School Life Adjustment of Elementary School Students in Dance

Choi Jae Hee | 2013, 45(6) | pp.133~153 | number of Cited : 12

PDF

A Study on the Characteristics of Real-time Digital Projection Dance Installation

Jisun Lee | 2013, 45(6) | pp.155~173 | number of Cited : 4

PDF

This study aims to discuss synesthetic characteristics shown in works utilizing projection technology among digital media technologies from the perspective of media aesthetics. While assuming that dance movements in traditional aesthetics have been construed and depreciated on the basis of phantasmal and unreasonable standards from the ocularcentrism, the researcher attempted to discuss that the mediation of digital media technology enabled the extension of sensuous characteristics and the re-interpretation of valuation of dance. For this, the study analyzed 「Body navigation」(2008) of the Danish Recoil-performance group which has been actively utilized digital promotion technology. In the work, a choreographer mediates using the digital the movements of a dancer through interfaces such as ‘Isadora’ and ‘Processing’ computer programs,infrared CCTV camera, infrared flood light, high efficiency video projector, digital image grabber, and white stage which replaces a screen.The movements of a dancer are captured in a digital camera and are projected to a space of a screen on the stage in real-time, and the dancer begins to explore a simulacre space as mixed reality in which existential and phantasmal senses coexist by dancing in a real physical space and also in a virtual space which is created as a result value of his/her movements. Digital mediation forms revealed in 「Body navigation」unearth a synesthetic attribute involving metakinesis which is a motor sensation of dance which is based on vision by visualizing quality such as an effort or a shape of movements. Given the fact that the aesthetic sense of digital mediated art which is discussed in media aesthetics is haptic, which means to be palpable with eyes, the digital mediation of dance illustrates that the synesthetic attribute of dance movements match the sense of media art and that the kinetic characteristics of dance becomes the data source of the primary digital art in the digital media era.

KJCKorea
Journal Central

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

2013, Vol.45, No.6