2020, Vol.77, No.1

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 aims to explore archetypes and symbols in Swan Lake from the perspective of C. G. Jung’s analytical psychology. Though Swan Lake is a Russian classical ballet, renowned contemporary choreographers continue to reinterpret it, and the iconic image of the swan is frequently exploited in commercial advertisement, films and other forms of popular culture all over the world. By drawing attention to its diverse and repetitive socio-cultural applications, this study illuminates the psychological meaning of archetypes by analyzing symbols in the three different versions of Swan Lake: Marius Petipa’s Swan Lake, Matthew Bourne’s Swan Lake, and Darren Aronofsky’s film, Black Swan. As a result, Petipa’s Swan Lake portrays the dual aspects of the anima in the process of man’s self-actualization, and the other two deal with an eternal boy and girl archetype, representing the images of an adult who remains emotionally a child, often dependent on a mother or father.

This is qualitative study focused on exploring dance/movement therapists’ experiences in Authentic Movement (AM), which was developed on Carl Jung’s concept of Active imagination. Seven participants were recruited in Seoul, Korea, and were trained as dance/movement therapists. The researcher provided total of eight session of AM, and each session took 2 hours to 2.5 hours. Data was gathered through an individual interview centering on two research questions: 1. What were the participants’ experiences in AM in relation to their personal growth? 2. What were the participants’ experiences in AM in relation to their professional development? The NVivo 12 software program was used as a tool to ensure efficient organization. Data analysis is revealed six themes (self-awareness & insight, growth, discovery and manifestation of strength, personal issue, group experiences, and recovery from burn-out), 21 categories, and 74 subcategories from the 473 meaningful units.

The purposes of this study was to apply an ‘Improvisation Dance Workshop’ to university dance major student specializing in creative dance and examine changes in the experience process through the research on lived experiences. The participants were selected through the purposive sampling method and included one dance teacher and five dance major students. They participated in a six-session improvisational dance workshop including an impromptu performance. After the workshop, they have in-depth interview. Their responses were analyzed in the four stages of A, Giorgi’s phenomenological analysis procedure. The results of overall identified total 8 general topics and 18 central meanings in the emotional aspects(improving self-confidence and emotional changes), cognitive aspects(new perception, need for an impromptu performance, and recognized uniqueness of an impromptu performance), and performance aspects of improvisation dance(enhancing performance, collaborative communication skills, and improving creative ability).