2016, Vol.62, 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

The purpose of this study is to analyze a meaning of William Forsythe’s concept of choreographic object. Through this concept, Forsythe suggests a new meaning of choreography as a translation of ideas. The three of Forsythe’s works, White Bouncy Castle(1997), You Made Me a Monster(2005), and Doing and Undergoing(2016) are exemplified to navigate his ideas such as that dance is a model of physical thinking and dancing or moving can allow a new perception to the world.

This research aims to describe and identify the experiences of north Korean adolescent refugees participated in the integrative arts psychotherapy sponsored by G Company’s arts psychotherapy program in 2016. We had carried out 12 sessions for 3 months and interviewed 5 participants. This program was designed to integrate the art and dance/movement as the psychotherapeutic intervention for the formation of sound self-identity based on the sense of stability and social efficacy. As a result, the core themes are ‘new, strange experience’, ‘awareness and expression of emotions’, ‘self-awareness’, and ‘understanding of others’. The north Korean adolescent refugees had experienced traumatic events during escaping and adapting themselves to an unfamiliar environment. In the sessions, the integrative arts psychotherapy facilitated the self-expression and emotional release through kinesthetic sensation and images. The understanding the experiences of north Korean adolescent refugees for the integrative arts psychotherapy would be useful to elaborate more tailored and sophisticated program.

This study aims to understand the cultural history of the elderly in dance performance by examining the roles and images of the aged in classical ballet works. Dancers, not actual senior citizens, play the roles of the aged in classical ballet works, because a dance performance requires various body movements. Nevertheless, what the ballet performances represent, along with impressions of the aged given by the dancers’ movements, costumes, and make-up, space was found as follows. In conclusion, Coppelius and Drosselmeyer showed movements, and roles opposite to each other. Agedness of Coppelius include images of scorn,and ridicule. Meanwhile, agedness of Drosselmeyer is represented with a respect image. This opposition suggests duplex recognition about the aged.