2016, Vol.60, No.3

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 study discusses the multilateral nature of dance as an academic field. Highlighting the roles of universities in establishing dance as an academic field, I examine how particular rules and expectations of universities have directed dance programs’ goal and curriculums in three academic fields and/or college systems: physical education, art, and humanities. First, dance program had its inception within a college of physical education, which used dance for women students’ recreational activity. Second, dance in art colleges aimed to train students to be a professional artist and performer. Third, the recognition on the lack of its academic aspects led dance scholars to seek facilities of humanities. With the crisis of humanities of today, dance in university has to redefine its academic and educational capacities. I suggest that the multilateral nature of dance contributes the difficulty of identifying what dance study is and what it should be.

After the law called ‘Cooperative Framework Act’ was established on December 1st 2012, and ‘Ballet STP Cooperative’ has been established. The goal of the organization is to set a stable welfare system. Its business model is the first case in the Korean dance scene, which seems to be a positive example. Thus, this research applies Nine Business Model Building Block of Osterwalder(2010) and selects 3 cases from culture and art organizations for an objective analysis. This research proposes cases and STP business, and compares these to direct future improvement.

The theme of this research is the music visualization on stage. As a collaborated work, Interview with Isang Yun , combining the dance, images with the Isang Yun’s music, shows the staged music, which expresses the music not only through sound but also visualization. In the process of visualizing the music through the body and images on the stage, Isang Yun’s musics is recreated in the hand of today’s artists. This study finds that the recreated work from the new point of view, like Interview with Isang Yun , can be a bridge between the composer and today’s artists, and we can see the future through it. This paper analyzes the combination of music and dance, focusing how can we deliver the Isang YUN’s music in the new representative form through formative visualization on the stage, using media technology as multi-cameras and motion control system.