• 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.

• 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.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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.87-102
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• 2020

The purpose of this study was to develop regional dance contents in order to receive attention from the region and re-illuminate the peacock fan, the intangible cultural property of Seocheon, Chungnam, which has been preserved in history and has been preserved in the face of rapid urbanization and modernization. The representative four series are composed of one-person dance, two-person dance, military dance, and creative dance. The titles of each piece are basic dance , male and female love dance , military dance , and finally Korean creative dance . The commonality of the four series is the traditional dance using peacock fan, and each dance showed unique emotion and atmosphere through different themes and music, costumes, and stages. It was found that the development of regional dance contents re-created reflecting the characteristics of regional cultural heritage should create an environment that can be steadily revitalized through modernization. Through this study, it was found that the intangible cultural properties, which are our traditional cultural resources, have unlimited potential to contribute to enhancing regional and national competitiveness along with the growth potential of regional differentiation. Through such research, if existing cultural resources are preserved for globalization and produced as contents that can be easily accessed by the public, various contents besides regional dance using regional unique culture can be developed and utilized.

• (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 Journal of the Korea Contents Association
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• v.21 no.5
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• pp.170-181
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• 2021

The purpose of this study is to produce the results of the cultural aspects of the Honam region and present the aesthetic specificity of the traditional dances inherited in the Yehyang Honam region. The research method examined the regional characteristics of Honam dance and the form of Lee Mae-bang, Choi Seon, Jang Geum-do, and Cho Gap-nyeo Salpuri dance, and analyzed the authenticity and dance tendencies of Honam dance through the analysis.The work of understanding the background of local culture and creating cultural values through these representative salpuri dances in Honam region is an attempt to reflect on the essential value of the region as an intangible heritage of the region.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.12
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• pp.242-247
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• 2017

The foster care system is a social welfare service that supplements the functions of the family while enabling children, who cannot receive proper care from their biological parents, to receive the necessary protection under the plan within the prescribed period of time within a substitute or foster family. A large part of the emotional instability experienced by foster care children is interpersonal maladjustment. Low self-esteem leads to difficulty in forming social relationships due to negative interpersonal relationships. Thus, the purpose of this study is to investigate the effects of traditional dance programs on the foster children who live in Daejeon Metropolitan City. A comparison between the pre- and post-interpersonal scores showed that the scores were improved after the traditional dance program, and the children's intimacy formation and communication were also improved. The participants were less active at the beginning of the program, but became more interested and more active toward the middle of the program. The majority of the participants increased their degree of communication with the formation of intimacy toward the middle of the program, and their self-confidence improved in terms of their peer relationships. The purpose of this study was to investigate the effects of traditional dancing on the development of interpersonal relationships. In a subsequent study, a traditional dancing program consisting of various contents will be applied over a long period of time, which should provide them with the opportunity to improve their interpersonal skills. In addition, it is necessary to provide educational opportunities for helping foster children reduce their emotional instability with systemic and diverse traditional dance programs.

• Convergence Security Journal
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• v.10 no.1
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• pp.35-40
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• 2010

Heungtaryeong Archive is a massive information date base warehouse which systematically stores digital dates in relation to dance, such as traditional dance, modem dance, dance sports and etc. The Heungtaryeong Archive is a research that cannot be conducted in a short period of time, in which the dances may be forgotten. Therefore, this is a meaningful research that the forgettable traditional culture is stored in the date base (warehouse). 'Heungtaryeong Archive in this research' presents the possibility of advertisement, education, research and development, and popularization of dance through on-line network system.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

• (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.