• (The) Research of the performance art and culture
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• no.19
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• pp.161-190
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• 2009

This study presents matters of how to analyse the dance of artistic form on the course of transforming folk art to be separated from leisure to become the art form. In particular, the traditional art of dance in Korea has been of collective act like dureh, rather than of individual art, that it had to choose the repeated style of same form and rhythm. In this respect, before it can be said that the dance in its own form became more sophisticated and adopted the artistic segment in the time of modernisation, it is viewed that in the very heart of folk dance there was sufficient ability of artistic material to seek its own right. In this regard, the artistic transformation of seoljanggo nori into seoljanggo dance is an art form which is found in Korea, and expressing rhythm and playfulness is evident and sought attention. Therefore this study puts its importance in analysing how, in the aspect of the course of life of traditional arts, dance is formed in its own right and developed a form of art from fun entertainment. I have chosen, among them, seoljanggo, which used to be a form of fun entertainment and later transformed into a form of art on stage, in particular LeeGyeongh wa seoljanggo dance which maintains the style of Honam Udo farmers' music, and tried to read the text from it. It has resulted in that, Lee Gyeonghwa seoljanggo dance did a new try on tradition, in its development of expressing art through dance and onto more technical sophistication, found in the style of tune and choreography fused into its distinctive form. The art of traditional dance concerns here that seoljanggo has changed from agrarian entertainment to modern stage art, which shows how tradition can be adopted to the contemporary cultural life or to be reinvented to the needs of the aesthetic style that the current society consumes. Thus, it is necessary to think about its role in education and to represent cultural creativity from local developments.

• (The) Research of the performance art and culture
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• no.20
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• pp.63-94
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• 2010

Research on Gong Ok-jin's choreography and its artistic value is still insufficient in the academia of Korea. Her life cannot be said even or smooth - she was born into an artist family with abundant innate talent and sensitivity, feeling joy and sorrow as a gypsy artist begging for food, facing and overcoming the crisis of her trademark deformed dance during the period when she played the solo performance of Changmugeuk, making a transition to the animal dance and finally to the sick dance getting her health back from the long struggle against disease. Her life, however, has always been an artistic expression and we can know that art has been the consolation and driving force of her life. In the Korean artistic tradition that integrates music, singing and dancing, it is beyond doubt that the third has been rather secondary compared with the first two. In the Changmugeuk, however, Gong Ok-jin focuses on each movement of hers, commensurate with the humorous witticism and the traditional opera of pansori. What is her message in such painstaking movements? She puts gestures ahead of words and continues them, reminding her audience of the meaning of dance and driving it into them. Especially, her deformed dance, unprecedented in choreographic history, is hard to understand if you do not sympathize with Koreans' innermost emotions. If you are to understand it, you should first feel what emotions are in Koreans' mentality to be expressed in the form of choreographic elements and what artistic values they carry. This study, in this context, is to reflect upon the original choreographic form of her Changmugeuk solo and to overview Korean dance's unique emotional values with regard to the way Korean choreographic subject matters and traditions are passed down.

• 기호학연구
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• no.54
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• pp.37-63
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• 2018

In this study, we tried to represent representative animals in traditional dance and study about cultural symbolic representations that symbolize them, thus meaning Korean worship of animal worship and philosophy of life and discuss the identity of Korean traditional art. This is to ask fundamental questions about Korean culture and art, and to express the cultural philosophical reason for the representation of animal imitation. Therefore, Korean animal imitation dance was able to get a glimpse of Koreans' recognition of artistic value which is reflected in dance beyond simple cultural code. In other words, it was found that not only magic and sexual metaphors but also the adaptive attitude through natural friendly life and the ethical practice in reality were inspired by artistic aesthetics.

• (The) Research of the performance art and culture
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• no.41
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• pp.157-186
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• 2020

It illuminates the representation of Korean dance in the sense of color. The unique color and light of Korean dance reflects the essence of Korean art and the consciousness of Koreans. Therefore, analyzing Korean art, colors and meanings can provide the principle of aesthetic interpretation to re-examine Korean colors. This means that it is necessary to pay attention to the possibility of developing original contents as a humanistic basis, asking the origin of Korean art. The Korean thought and philosophy in which color and life become cultures remain the roots for another re-creating vision of Korean art. Therefore, it is time to establish a system of Korean identity as an art with the expansion of various interpretations of various aesthetic attitudes that recognize Korean dance.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.111-122
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• 2019

The advent of the Fourth Industrial Revolution provides new civilized convenience, while the humanistic ecological environment is at stake. Therefore, looking at our culture and arts ecological foundations is ultimately for the preparation of a rich life for the future. Therefore, establishing a desirable cultural ecosystem begins with an enduring tradition of traditional art.This study examined the dancing characteristics of gabbigochanong-ag, which maintains the nongsapul-inong-ag performance pattern. Two field studies and image analysis studies showed that gabbigochanong-ag maintained the characteristics of traditional nong-ag, which strengthened the solidarity and cooperation of village community members and shared community identity. gabbigochanong-ag encourages the participation of the members of the village community through mechanistic dance movements based on soundness, imitative dance movements with minimal movement, repetitive dance movements, and communicative dance movements, As a result of the change, the members of the group were attracted to each other. Although gabbigochanong-ag was not sophisticated or sophisticated, it had a dancing structure that could create aesthetics and marginal aesthetics of slowness from the swiftness and convenience of civilization and bring harmony among the members of the community with warm emotion.

• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• Trans-
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• v.3
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• pp.137-162
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• 2017

This is a study about the arts as political tools by absolute royal authority in time of Louis X IV through the movie Le Roi danse(2000). The King, Louis X IV was an enthusiast of Arts. During the during the reign of Louis X IV, French Baroque art was blossomed exuberantly. the movie shows how the King uses the arts as a tool of his absolute authority. there are artists, Jean Baptiste Lully and Moliere, and while the movies shows how these artists could get the King's confidence and the king manipulate the arts for strengthen his authority as an absolute royalty.

• Journal of the Korea Convergence Society
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• v.13 no.5
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• pp.201-207
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• 2022

This study analyzed the Seungmu research trends published in domestic academic journals from 1978 to 2021. Seungmu, a traditional Korean dance, has been handed down for a long time and has established itself as a traditional dance representing Korea. I think that the trend analysis of Seungmu Dance can present basic data that can solidify the succession, preservation and development of Seungmu Dance, a sustainable traditional cultural heritage. I think that the trend analysis of Seungmu dance is a meaningful process that lays the foundation for the vitalization and popularization of Korean traditional dance.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.8
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• pp.115-123
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• 2017

This study examined traditional dance programs in cultural and arts education in local children's centers. We aimed to contribute to the voluntary and active participation of children in cultural and arts education through differentiated cultural and arts educational programs. Interviews were conducted from March 2016- June, 2016 at A Regional Children's Center in Chungnam. Once a week, a 50-minute were held 16 Session as "learning traditional joyful dance". After completing the program, 25 children who participated in the program were asked about the good points and disappointments regarding the program. The interviews used open, structured questions that have been primarily used in phenomenological research. The list of questions was prepared in advance according to the research purpose. The results of the study are as follows: The evaluation of the first program was generally positive. By experiencing activities through cultural and arts education through traditional dance programs for children, children learned to be polite. It also changed positively in conversation. Children who showed negative attitudes toward traditional dance programs gradually participated in activities. Second, I examined the evaluation of lecturers who teach traditional dance. The children's response to the program was positive, with sincere and responsible lecture preparation and progress. The instructor prepared the class in advance, welcomed the children and ran the class in good faith. Instructors who taught traditional dances were proficient in dance, majored in dance and teaching children. The learning effect was high by the instruction of the good dance movement. Rich in lecture experience, he is proficient in dealing with children in class. Material was delivered according to the child's dance level.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.249-257
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• 2010

In performance art, actors on the stage play an important role. The purpose of performance art is not in producing expression of superficial or trite pleasure, but in presenting a source of philosophical catharsis regarding essence of a human life. It is actors' responsibility to bring such expression onto the stage. Performance art not only involves technical skills but should be a cultural expression to represent tradition, spirituality and identity of a nation. In Korea, performance art tends to follow Western methods of expression. It is desirable to set a future direction to further develop methodology of expression in performance art. As part of such effort, the research examines how the rhythm of traditional Korean dance and dimension of time and space in performance art are effectively visualized in their relation to "stage direction." The research illustrates characteristics and concepts of Korean dances in terms of inhalation in deliberate hypogastric breathing ("danjeon') and rhythms of exhalation (gutgeori, jajinmori, huimori). Also, the research aims to enhance dramatic effect on the stage, which is distinguished from presentation of ordinary actions, by emphasizing dimension of time and space in visualizing expression.