2025, Vol.102, No.5

The Korean Journal of Dance Studies 2024 KCI Impact Factor : 0.79

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

This paper examines the transformation of performance spaces through Yvonne Rainer’s ｢No Manifesto｣, articulated while developing her 1965 work ｢Parts of Some Sextets , and Boris Charmatz’s manifesto set forth in 2008, coinciding with his conversion of the National Choreographic Center into the Dancing Museum. To this end, interviews as well as related papers and writings were analyzed. Rainer, by advancing a new form of avant-garde practice, challenged the authority of the traditional theater and established a new, and expanded relationship with the audience. Charmatz, by situating his choreographic practice within the museum, presented a conception of the body that operates within the ‘Living Museum’ and the ‘Non-Material Museum.’ As a result, the choreographer’s practice reclaims and reshapes space, allowing it to be perceived anew.

This study explores the theoretical intersections between dance/movement therapy (DMT) and somatics, focusing on their shared principles of embodied awareness, self-regulation, and integrative healing. Both disciplines regard the body not as a passive object but as a living process through which emotion, cognition, and identity are expressed and transformed. Drawing on key theoretical frameworks such as Merleau-Ponty’s phenomenology of the body, Reich’s concept of muscular armor, and contemporary somatic psychology, the paper examines how somatic principles are implicitly embedded in foundational DMT approaches, particularly in the works of Marian Chace and Mary Whitehouse. Furthermore, it discusses the therapeutic relevance of somatic sensitivity in addressing culturally embodied emotions in the Korean context, including Han (恨) and Hwabyeong (火病), through embodied practices like the Salpuri dance. By integrating Western somatic theory with Korean embodied culture, this study highlights the potential of DMT as a culturally responsive modality that bridges bodily experience and psychotherapeutic transformation. The findings suggest that somatic principles—awareness, breath, and authentic movement—constitute a crucial foundation for understanding and expanding the therapeutic processes in dance/movement therapy.

This study aims to analyze the intermedial mechanism through which Carolyn Carlson’s Pneuma (2014) reconfigures Gaston Bachelard’s dynamic imagination by transforming the aerial image developed in Air and Dreams(1943) into embodied and kinetic forms. Rather than tracing symbolic correspondences, the research focuses on the generative process in which poetic images migrate from textual reverie to choreographic expression within Carlson’s conception of “poésie visuelle”. The analysis first clarifies how Bachelard’s notions of dynamic imagination and verticality provide an operative framework for Carlson’s movement-based rearticulation of the aerial image. It then investigates the seven principal scenes of Pneuma as stanza-like poetic segments, demonstrating how contrasts— lightness and gravity, ascent and descent, white and black—activate a continuous unfolding of imaginative energy. Ultimately, the study argues that Pneuma constitutes an intermedial creation in which the aerial image acquires bodily life, revealing a distinctive mode of text-to-movement transformation.