2015, Vol.56, No.5

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

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

This research aims to promote music video as a form of video dance and, furthermore, as a form of contemporary art. Witnessing its marginalization within dance scholarship, I emphasize the correlation between music video and video dance and suggest choreographic strategies as a way to penetrate these two forms and even the larger framework of dance media. Based on Erin Brannigan(2011)’s discussion, I suggest close-up, gesture dance, continuity, location, and narrative as the five choreographic strategies, according to which I analyze Sia’s hit music video Chandelier (2014). The analysis reveals that Chandelier utilizes these five strategies diversely, and the result, in return, reveals that these strategies can function as a useful framework to understand music video as well as video dance.

The purpose of this study is to explore the possibility of translating a religious ritual into a ritualistic dance work by analyzing the Buddhist ritual called Yook Bub Gong Yang and to examine its meanings and values. Introducing the theoretical backgrounds of Yook Bub Gong Yang , the researcher analyzes two ritualistic dances, Yook Bub Gong Yang and Heon Moo Da Rae , choreographed by the researcher in 2003 and 2008 respectively. This research examines the experimental implementation of the Buddhist traditionality and spirituality through the ritualistic dances based on the study of the Buddhist rites, Yook Bub Gong Yang. Yook Bub Gong Yang outlines 1) the diversity of religious rites, 2) inclusion of Gamuak(Song, Dance, and Music), 3) the composition of Yook Ba Ra Mil’s symbolism, 4) the movement based on the Buddhist universe, 5) development of creative dance movement methods in accordance with the Buddhist ritual dance, and 6) costumes that represent the symbols of Buddhism and Saek-Dong, the Korean traditional multicolored stripes.

Dance graduates are more likely to become self-employed or undertake freelance work. Therefore, they need to understand the market and to develop necessary management and organization skills for planning, fundraising, application writing, promoting and touring. Also, professional dancers face relatively short performance careers due to the intense physical demand and may have to prepare for career transition and to develop a second career. Reflecting upon the characteristics of employment within the dance world and dancers’ career, this paper argues that dance departments in higher education have to provide entrepreneurship curricula for dance students who need to improve not only abilities to perform and choreograph but also entrepreneurial skills for a successful and sustainable career in the sector. This research analyzes current curricula of most dance departments in Korea, focusing on what their entrepreneurship-related programs consist of and how they run the programs.