• The Journal of the Korea Contents Association
• /
• v.21 no.5
• /
• pp.961-969
• /
• 2021

In the historical trend of Korean dance, Korean traditional dance continues to evolve through the transition to stage dance due to the modernization process, the tangibleization of traditional dance, the reconstruction or re-creation of traditional dance. Moreover, the trend of reconstruction and re-creation of traditional Korean dances has been common in traditional dance performances since the 2000s, with two directions: performance of original restoration and preservation and evolution of traditional dances. Therefore, this study is a study of the change in the form of traditional dance and the process of the evolution of traditional dance, and among them, the change of the traditional paradigm of the Lee Dong-an Ryu Jin-so dance. The paradigm shift of traditional dance was staged through the trend of the times to the extent that the original's meaning and form were not undermined, and we can recognize that the paradigm of traditional dance is a way of introducing new aspects as a way of transmission.

• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.347-378
• /
• 2009

Those who were from Jaeincheon and Jaein line entertainers played great roles during transition period from traditional society to modern society, and even at present the dances of them are the representative traditional dances of Korea and the matrix of Korean originality. Nevertheless, Korea dance field has given little importance to these dances, but too much importance to Gibang dance in studying traditional dances, which causes the studies on Jaein line danced to be superficial or separate. Therefore, the aims of this article are to analyze the dances of Jaein line by Han Seong-jun, who was representative for the dances, and to appraise the historical value of them. Han Seong-jun(1874-1942) was the most influential dummer and dancer of his day in Japanese colonial times, and has been recognized as one of the masters of traditional dances. He established autonomy of traditional dances by reorganizing, collecting and stage-formalizing the dances, and systemized transmitting ways for various folk dances including a Buddhist dance, which made it possiblefor those dances to be traditional dances of Korea and the bases for creative dances. The values of Jaein line dances, which were transmitted through Han, are the following: First, the dances have been designated as national or regional intangible cultural assets, and, as the representative traditional arts, we proudly show them to the world. Second, the dances, as one of the genres of Korean dances, are the subjects of younger scholars' studies. Third, the dances become one of the representative examples of revivals of traditional dances, which tend to be extinct during modernization times, and contribute to establishing national identity and subjectivity. In addition, they contribute to discovering and transmitting other traditional dances. Fourth, the dances enable many dancers to make association, that is, Association for Preservation of Traditional Dances,for the transmitting the dances, and to distribute the dances and get many dancers to transmit the dances. Furthermore, as new performance repertories, they give another pleasure to the audience. In addition to the above, as a base for expansion of Korean creative dances, Han's dances have other values such as the following: First, in searching for a new methodology for creation, he played an important role in rediscovering the foundation in the tradition, and tried to discover nationalidentity by employing the traditional dances for expression of theme. Second, he contributed to drastically dissolving the genres by expanding the gesture language from motion factors of traditional dances, which can be compared to the modern dance. Third, he tried new challenging approaches to re-create the tradition, and contributed to pursuing the simple elements of our traditional dances as traditional aesthetics. While the dances of Jaein line have such values as the above, there are also some problems around the dances, such as the confusion in the process of transmission resulted from different transmission forms and transmitters, which we must no longer leave as it is. Furthermore, it is urgent that the rest of Jaein line dances be recovered and designated as intangible cultural assets for the sound transmission of the traditional dances.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.18 no.7
• /
• pp.284-289
• /
• 2017

This study examined Korean traditional dancing performances in small theaters as a phenomenological approach. Korean traditional dances, as cultural welfare, are expected to be attractive to the public and our cultural heritage is expected to be inherited from them. The purpose of this study was to provide basic data for Korean tradition dancing to be supplied to the public as a Traditional Cultural Welfare Program. A qualitative approach was taken to best achieve the aims of this study. The data used in this study were collected from July 10th to September 1st, 2016, using in-depth interviews. Seven Korean dance professionals with more than 15 years' experience in traditional dancing performance were enrolledin this study. The traditional dancing performance in small theaters is necessary in terms of providing concert halls to local cultural artists and high quality performances to audiences as traditional cultural welfare. The traditional dancing performance in small theaters as cultural welfare will provide a platform to enjoy various traditional cultures across all ages and all class levels of the society in auniversal dimension.

• The Journal of the Korea Contents Association
• /
• v.19 no.9
• /
• pp.122-134
• /
• 2019

This study aims to conceptualize characteristics of the Korean traditional dance, and to categorize and analyze the recognition of experience of passing down education of Seungmu(Buddhist Dance), Salpurichum(Exorcism Dance) and Taepyeongmu(Dance of Peace). Dividing into groups of two: an experienced person twenty years or more in the Korean dance and a person who completed the traditional dance three years or more, three groups were selected. We connected the characteristics of the traditional dance experienced in passing down education with the recognition experience in the training courses. Categorizing thematically the process and the recognition of experience in the passing down education program, we attempted mutual group discussion and inductive area analysis on the basis of in-depth interview, tutorial discussion and analysis contents. As a result of this study, first, the characteristics of the Korean traditional dance that graduates of the program by repertory empathize were the experience of the sinmyung(the excess of mirth) and improvisation, the supreme self-controlling beauty and the best beauty of expression. Second, the recognition of experience in the passing down education program runs as follows: Interacting in the centre of the process, new education system for transmission, and formation of social discourse for appreciation. Conclusionally, the experience and the new vision for transmission of passing down education of the traditional dance are required to be based on the appreciation of the rationality of mutual communication and recognition of experience.

• Journal of the Korea Convergence Society
• /
• v.13 no.5
• /
• pp.201-207
• /
• 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 HCI Society of Korea
• /
• v.12 no.3
• /
• pp.5-11
• /
• 2017

Korean traditional dance has cultural value and is human's cultural heritage. But they are in danger which is caused by lack of bearers and public interest. E-Learning of traditional dance using network technology and digital media can be a solution to extinction problem. The aim of this study is to propose the E-Learning courses and systems for learning traditional dance. E-Learning systems were evaluated in accordance with the HCI (Human Computer Interaction) user evaluation. This study contribute to overcoming distance constraints by offering synchronous E-Learning education system of traditional dance as intangible cultural heritage through new media experience.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.157-183
• /
• 2011

This study is to find out the legitimacy and features of Honam Choreography via Lee Mae-bang and Han Jin-ok, two of the masters, and to seek better and more creative ways to pass it down in view of regional particularities. The study looks into the traditional choreography's multi-conceptuality that is derived from various forms of art and lends it its identity with the original notion rooted in Buddhist dancing. Despite the local cultural traits of the Honam area, the fact that Lee Mae-bang is more feminine and Han Jin-ok more masculine shows the two's worlds of dancing have been created from different perspectives, though they are quite common in their roots and locales. The particularities of passing down traditional choreography are given a thought in this study with the distinction and identity taken into account. Also, it will give an opportunity to discuss the importance of localism as aesthetic consciousness and communica tion channel. In any case, there is no doubt that local difference and communica tion make a very important source of culture when we look into the originality of the choreography.

• 한국HCI학회:학술대회논문집
• /
• 2006.02a
• /
• pp.547-554
• /
• 2006

우리 춤은 우리 고유의 정서를 담고 있는 종합예술이므로 우리 춤을 분석하고 이해하는 것은 큰 의미가 있다. 본 논문에서는 기존의 춤 동작의 정량적인 분석을 통한 감정인식 기술을 이용하여 우리 춤에 내포된 감정 패턴의 변화를 살펴본다. 먼저 한국 전통춤으로부터 무용전문가들의 정성적 분석에 기반하여 추출된 우리 춤사위를 정해진 각 감정별로 재구성하여 창작하고 창작된 우리 춤을 무용전문가가 시연한다. 이를 카메라를 이용하여 획득하고, 영상처리를 통해서 시연자의 실루엣을 뽑아낸 후, 정량적 특징량들을 추출한다. 이어 신경회로망을 이용하여 각 감정별 춤사위를 학습 시킨 후, 임의의 춤사위에 내포된 감정을 인식 한다. 본 논문에서는 정면, 좌, 우 세 시점에서 획득된 다시점 영상을 이용하여 학습시킴으로써 보다 안정적으로 동작하는 인식 시스템을 제안한다. 그리고, 시스템에 의해 인식된 감정 패턴과 변화의 정성적 의미를 이해하기 위해 무용전문가들에 의해 정립된 정성적 분석 결과와 비교, 분석한다. 이는 정성적인 분석에만 국한되던 우리 춤의 특성에 대한 이해를 객관적이고 정량화된 분석을 통한 이해의 차원으로 확장시키는 것으로, 우리 춤의 특성을 새롭게 정의하는 계기를 마련할 수 있다. 다양한 장르의 한국 전통춤 가운데 우리 춤을 대표할 수 있는 춤사위를 선정하고, 정성적/정량적으로 분석함으로써 우리 춤의 특성을 이해하기 위한 체계적인 틀을 제공하고자 한다.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.18 no.8
• /
• pp.115-123
• /
• 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
• /
• v.12 no.9
• /
• pp.156-171
• /
• 2012

It is the time of the Korean Wave booming throughout the world, placing Korean culture in the center of the world and its added value is unaccountable. At this prosperity, the preserving of the archetype of Korean dancing and digital contents making is becoming a task not only for the government but also for the private sector because culture industry has enormous added values. To achieve such goals, contents development is an urgent matter but establishing the value of the archetype of Korean traditional dancing must have priority. The public has to take an active role in rediscovering the values of traditional culture, and as the representative of Korean identity traditional dancing must be the object of a systematic art policy. This study will review the current status of 'digital contents program of the archetype of culture' for traditional dancing and will reconsider the modern value of preserving the archetype of culture to make a suggestion to the direction of culture art policies in the near future. The study acknowledged the lack of technical personnel majoring in the archetype of traditional dancing and the need of reviewing the credibility of historical research procedures. Even with the studies by industry-university collaboration and positioning of specialists, effective policies that will form the foundation for private firms to train personnels is in urgent need. In other words, training personnels, allocation of resource, securing funds, policies promoting collaboration between private and individual businesses, and the commercial recognition at private firms are still far from establishing. This is due to the fact that archetype of culture is not a business that creates revenue immediately, therefore the recognition of traditional dancing as an investable item by business-oriented firms or movements are difficult to find. To overcome such situation, software oriented policies that establish open communication and sharing with the public should be done at first rather than the quantity oriented hardware policies of contents development. Through this process the public can change the attitude on traditional dancing and traditional dancing could be newly recognized as a creative repository of culture and as public businesses giving birth to economic value.