• (The) Research of the performance art and culture
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• no.33
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• pp.195-222
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• 2016

This study says that giving a life through the mixed power of motions which can not be fixed. It is a fundamental activity of the art of dance. In the fact, the art of dance is defined as the most instinctive and intuitive arts show that dance is a harmony of emotion on the body, thus, this view wants to discuss the relations between "sense and body". This view doesn't focus on the mere motions of dancing form, but characterizes dance as an art of another vitality through the mixture and combination of these motions. In other words, this study emphasizes that dance transcends time and space on stages, and that dance, as an expression of identity, is an art which shows a sense from inside of human. Therefore, when we want to understand the true meaning of the art of dance, we should attend what attributes of dance define it as an art and show its creative. This study, thus, seeing those attributes as the life-giving function of dance, aims to help understand the principle meaning of the art of dance that realizes creation as well as the attitudes of audience who appreciate the art of dance. And by doing so, this study contemplates how we should see the creative idea of choreography, forming sympathy and the art of dance.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.257-258
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• 2019

본 연구에서는 카포에라를 움직임의 기반으로 하는 무용단을 선정하여 그들의 최근 작품을 중심으로 작품 경향을 문헌연구 하였다. 연구 대상이 된 무용단은 러셀 말리펀트(Russell Maliphant), 콰살 댄스 컴퍼니(Quasar Cia. de Dança), 구루포 코르포(Grupo corpo), 댄스 브라질(DanceBrazil)으로 제한하였다. 연구결과 카포에라(Capoeira)는 역동성과 리듬이 극대화된 소용돌이 치는 듯한 새로운 무용의 움직임 언어를 만들어 냈다. 신체움직임을 이용하여 공간, 이미지, 음악과 융화되는 작품 경향을 나타냈다. 사랑, 종교, 역사, 신화를 무대 위에서 움직임으로 풀어낼 수 있는 새로운 움직임 양식을 개발하여 흑인문화가 순수무용분야에 완벽하게 흡수되는 결과를 낫게 되었다.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.3
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• pp.371-381
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• 2017

This paper presents a methodology for creating abstract animation based on the human movement theories originating from the work of dance theorist Rudolf von Laban. Laban Movement Analysis is a method and language for describing, visualizing, interpreting and documenting all varieties of human movement, and Choreutics is based on universal patterns of nature and of human as part of a universal design. Laban defines the space of movements in a profoundly dualistic way. Outwardly, his objective and scientific definitions provide a concrete base for generating human movements in computer graphics in terms of geometric and motion primitives such as points, lines, planes, polygons, linear and nonlinear movements. On the other hand, he also offers a system for understanding the subtle characteristics about the way a movement is dynamically done with respect to inner intention. Laban's interpretations of human motion can be utilized potentially in plastic arts and computer arts. Our work was inspired by those physical and psychological analyses and computer algorithms have been developed for creating abstract animation. We presented our computer animation works entitled "Choreography" in the exhibitions: a special section in "2015 Craft Trend Fair" and "Make Your Movement" held in the Korean Cultural Centre in UK, 2016. In this paper, we describe our ideas and methods for creating abstract object movements based on the Laban's motion representations.

• Trans-
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• v.6
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• pp.17-33
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• 2019

The core of Laban Movement Analysis, which is used for academic research purposes, is that the individual's psychological or emotional state through movement is expressed in external motion by internal intention, which is symbolic of internal emotions. In addition, the Laban motion analysis focuses on analyzing the structure of the object of movement and its structure comparatively and analytically with the past or other structures, and the analyzed grammars of the dance ultimately influence each other in psychological, social and cultural aspects 'Relationality' provides clues to be found. It also provides a resource of records in terms of the system implied from the 'momentary nature' of dance, which has educational value as a multidisciplinary research material.

• Cartoon and Animation Studies
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• s.30
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• pp.27-57
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• 2013

Animation which appeared with films in the late 19th century was a medium which came on obtaining nourishment from art historical style of modernism. However, the relation establishment between animation and modernism has been focused mainly on animation shapes, namely painted images. This sprang from explaining the relationship between animation and paintings, and for this reason, discussions of movements in animation were understood in tradition of chromophotograph of Muybridge and Jules Marey, or some characteristics owned by the live-action film. However, movements of animation were essentially different from the indexical sign of films or photogram, and objects of reproduction were different between them. Movements reproduced by animation are not ordinary movements, but expressions of or compressed movements and considerably systematic movements. As a result, these movements are far from reproduction of live-action film photogram. Rather, the logic of movements reproduced by animation comes near to controlling their motion scopes, time, distance etc. after dividing each part of the body. This is concluded in a standpoint of modern mechanism which is represented by Descartes and La Mettrie who tried to understand human body as a exchangeable machine. Design of modern mechanism ranging from modern society to industrial society and the age of modernism came to lead to analysis of physical motions of modern industrial society called composition of efficient movements understanding them as the law of nature rather than movements as nature. In the late 19th century, Taylor, F. W. and Gilbreth, Frank Bunker's studies of workers' working hours and 'motion study' were a way of constituting the frame of machine-human, which indicates that tradition of modern mechanism affected the entire modernism passing through industrial society. Further, we can see that motion studies conducted by them have almost similar characteristics to action analysis to study animation later in the name of 'timing'.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Cartoon and Animation Studies
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• s.35
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• pp.89-106
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• 2014

According to Norman McLaren, a Canadian animator, "Animation is not art of moving pictures but art of drawn motions". As he puts it, animation performs the role of magic that turns static to dynamic. Particularly, the space of animation, which is generated through merger of several layers, creates distinctive space that is not to be found in other art genres. Also, the motion of animation, which, unlike live action in film, can be limitlessly created according to a director's subjective domain, has a more autonomous existence. In this paper, I study the space and motion in animation grounded in a director's subjective domain, based on the works by Tabaimo, the Japanese animator director and modern artist. She made an independent use of color sense and perspective that maximized a flat surface, which contributed to creating a new world that doesn't exist in reality. Motion created in such a space is more relative than universal. Therefore, Tabaimo's animation has made aggressive use of a device that gives more originality to the director's themed world, while audience can participate in the strange but new world.

• Journal of the Korean Geographical Society
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• v.46 no.2
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• pp.233-256
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• 2011

This research is aimed at providing the possibility for overcoming the current people's status of exclusion and fragmented spaces of urban regions. In this context, it needs to be considered that how the social movements, which are in collusion with spatial characteristics, are proceeding in urban societies. In order to find the clue to such problems, this study is going to investigate the social practice especially based on Lefebvre's theory. Because of the abstract characteristics of Lefebvre's issue, an explicit case of that social theory must be contemplated for practical use of his concepts. For the purpose of proposing such practices, this research has been striving to analyze the case of Mullae Art Village through the method of intelviewing the artists of that place and using the statistical data. And then this research has tried to draw the clue about how to overcome the status of exclusion by considering their spatial movements.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.223-224
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• 2017

본 연구에서는 21세기 무용예술 창작환경변화에 따른 실제 행해지는 안무법들을 알아보는데 그 목적이 있다. 이를 위해 먼저 안무의 사전적 의미, 학술연구에서의 안무의 개념을 살펴보았다. 그리고 2000년도 이후 댄스포럼 잡지 중 5년 단위로 잡지를 선정하여 이로부터 안무가들의 인터뷰를 수집 후 안무방법에 대한 언급이 있는 기사들만을 추출 하여, 21세기 현장에서 이루어지는 안무의 실제에 대해 정리하였다. 안무의 사전적 개념은 17세기 안무의 개념과 크게 다르지 않았고 저작권에서도 동작의 형으로만 그 범위를 제한하였다. 20세기에 들어 움직임의 창작 뿐만 아니라 작품의 연출에 까지 그 범위가 확장되었다. 21세기의 안무가들은 사전적 안무의 개념에 집중하는 경우도 있었지만 주로 안무 작업 시 작품 전체의 연출에 집중하였으며, 움직임은 주로 무용가들과의 소통을 통해 창작하였다. 융 복합 환경으로 변화해가는 창작환경의 변화를 고려하였을 때 지식재산권의 문제를 고려한 안무 개념의 고찰에 대한 많은 연구들이 진행되어야 한다.

• Trans-
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• v.1
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• pp.1-19
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• 2016

Arts have changed continuously reflecting the times with the political atmosphere and social systems. As political, economic, and social big changes have occurred since World War II, antihistorical tendencies rejecting modernism in the early 20th century have come to appear in culture and arts as well. With these social changes, radical, avant-garde and artistic tendencies with strong experimental spirits, which rejected modernism took place especially in American dancing world. Trends of improvised elements and experimental trials were dominated discovering expressions of new movements in intentions and expressions of works. The purpose of this study is to investigate the effects on choreographic forms of modern dance until today by exploring choreographic characteristics of this postmodernism. To examine post-modernist inclinations in works, Trisha Brown who led American post-modern dance stressed dance for expressions of movements in themselves and pure movements by actively accepting into dance works American social flows which played a major role in postmodernism starting from 1960s. American modern dancers considered body in itself as important one and any emotional expressions and individual sensitivity is excluded as their physical expressions are factual, realistic, and due to their movements. They imprinted dance as valuable art by recreating ordinary behaviors into dance, using space excellently and forming experimental dance shapes. Therefore, it can be said that through analyzing brown's works, we proposed a new direction getting out of limits of arts and provided a direction of essential dance alt to movements of modern dance and choreographic shapes.