• Title/Summary/Keyword: Chinese Dance

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On some Problems in describing of the History of Ancient Chinese Dance (중국 고대 무용사 기술에 있어서의 몇 가지 문제점)

  • Nam, Jongjin
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.31-56
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    • 2012
  • This paper were reviewed on some problems in the early history of Chinese dance written by scholars of contemporary China. Results of the review, were found the following problems; First, In describe to the early history of Chinese dance, contemporary Chinese scholars do not distinguish myths, legends and historical materials, so the history of ancient Chinese dance makes to mystery, thus, eventually will cause a lack of truthfulness. Second, In order to fill the lack in the early history of Chinese dance, the Chinese scholar often use a drawing of earthenware or mural. However, in certain cases, the same drawing by the other observer to be interpreted differently. In this case, if use as evidentiary material, there is a problem. Third, Most contemporary Chinese scholars usually say that the origins of dance is labor. It is to have originated from materialistic historical view can be said. However, in ancient China, but rather about the origin and function of dance there were diverse views. Therefore, this aspect should be cautious.

A Study on the Historical Changes and Trends in the Dance of Ethnic Koreans in China (중국 조선족무용의 역사적 변천과 작품 경향)

  • Cao, Ying;Yoon, Mi-Ra
    • The Journal of the Korea Contents Association
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    • v.22 no.7
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    • pp.623-634
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    • 2022
  • Chinese Korean dance has been handed down in its original form, and some of the dances have changed slightly due to changes in the names of people or places, but it is a creative dance developed based on the roots of the Korean people. Therefore, it is a unique form of dance art that reflects the history and life of the ethnic Koreans while imbuing the unique psychology, emotions, artistic symbols, and creative talents of the Korean people. In this study, however, it is most important to identify the identity of Korean dance through historical changes in Korean dance and representative works by period, and to increase awareness by examining the characteristics of Korean dance. Therefore, based on the literature, this study will understand the concept and formation process of Korean dance, and examine the characteristics of the representative works of each period by dividing the history of Korean dance into four periods. On the other hand, this study suggests that the biggest challenge of the present era is not to establish and protect the identity of Chinese Korean dance, rather than simple dance.

Thoughts on Chinese New Media Dance Triggered by the Use of 'Bullet Time' in the Premiere of "Dance Smash" (댄스 스매시 프로그램에 적용된 불릿타임의 효과와 중국 뉴미디어 무용의 과제)

  • Chen, Jinjing
    • Trans-
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    • v.8
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    • pp.79-93
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    • 2020
  • The main purpose of this article is to discuss the impact of "Dance Smash" TV show on Chinese dance, which uses the combination of dance and new media technology as the core content of the program. "Dance Smash", as a dance communication TV program for the public, first considers the entertainment attributes of variety shows. Spread the dance art on the basis of meeting the public's aesthetic needs, thereby expanding the popular living space of dance art. The use of 'moment of the storm' has let the general audience of non-dance majors feel the technical charm of dances, thus playing a healthy promotion role. However, whether "Bullet Time", a type of dance program that has had a successful case in the West, can also have a positive impact on the mass communication of dance in the localization of China, this is what questions and seeks of this article.

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Interpretation of Primitive Worship of Maogusi Dance of Xiangxi Tujia Nationality (상서(湘西) 토가족(土家族) 마고사(毛古斯) 무용 원시숭배(原始崇拜)의 해석)

  • Zhu, Yi
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.22 no.3
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    • pp.381-389
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    • 2021
  • Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

Educational Aesthetic Characteristics of Chinese Kangba Tibetan Opera Performing Arts (중국 캉바 가극 공연예술의 교육 심미적 특징)

  • Wang, Shuai
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.3
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    • pp.211-219
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    • 2021
  • Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

North Korea's Overseas Transfer Dance - Focusing on Japan and China - (북한춤의 해외전파 : 일본과 중국을 중심으로)

  • Kim, Chae-Won
    • (The) Research of the performance art and culture
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    • no.22
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    • pp.185-221
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    • 2011
  • This study overseas compatriots in the North during the propagation and development of dance patterns and was going to be based, people living outside of the dance culture as a group of overseas Koreans, especially dance culture of Koreans in Japan, China are interested in and thought about the necessity of the study. Issues discussed in the literature of research results, autonomous community of Koreans in Japan ethnic Koreans and Chinese dance culture dance Choi Seung-hee starting point common was, two ethnic groups, directly or indirectly from the Choi Seung-hee learn to dance or have received specialized training to work, compiled by Choi Seung-hee Korea on the basis of basic dance training was learning the dance. In addition, specialized training and dance training institutions in the North Koreans in Japan Social Dance Group for the system, such as dance training in a separate place where talented people through the exhaust, to act in a professional troupes have maintained a system. In contrast, Chinese ethnic Koreans in Yanbian Autonomous University and Central University for Nationalities in the dance departments are stationed there, the transfer from the Joseon dance dance by educating gifted talents have been dispose, South Korea and similar aspects of the dance education system can be seen. Dance work based training and the tendency of Koreans in Japan in terms of social practice and dance in the North of basic training as basic training and specialized training, and work to represent the North korea's famous dance folk dance performances have been transmitted intact. In China, however, ethnic Koreans Choi Seung-hee compiled by borough basis and the work of the North korean dance training or specialized training received directly from her, she founded the dance student of Choi Seung-hee developed basic techniques of Chinese ethnic dance and ethnic Koreans in China, while receiving only Sewonaga dance training system as a deal on exchanges with the North Korean dance dancing free dance culture for creation peppered ethnic Koreans in China was formed. When passed down to the time, Koreans in Japan since the 1960s, society began to visit Pyongyang in the 1970s, subjected to a direct transfer, and education and through the 1990s, the North Koreans in Japan by inviting dancers and dance directly to basic training by getting education bukhanchum As can be seen in the spectacular aspects will have to reproduce. However, ethnic Koreans in China in the 1950s in districts in Beijing, Pyongyang and received direct guidance from Choi Seung-hee, Dancers from the North after Pyongyang rather than direct guidance on the occasion of his visit to China Dance Troupe was affected. On the other hand Korean dance since the 1990s, starting with Ethnic Koreans in China only began to absorb a different dance culture has been created. The same nation, yet living in the region and to configure the ethnic groups, the configuration of the system and political system, according to the North Dancing transfer process and the development pattern similar, but each of the identities to ensure their own traits with a dance culture, the formation and develop the arrival of You can find out. In other words, Koreans in Japan and Federation of Koreans in Japan under the control of social forces of the dance culture by Acculturation variation of dance culture, dance culture of the borough ethnic Koreans in China Acculturation by the voluntary and free borrowers were able to gauge the changes in development.

A Study of Sheng's Stage Costume in Peking Opera (경극에 표현된 “생”의 무대의상 연구)

  • 이영숙
    • The Research Journal of the Costume Culture
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    • v.12 no.4
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    • pp.599-613
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    • 2004
  • The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera's orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera's stage costume was set up in Qing dynasty though it's style was embellished with mainly Ming dynasty's clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

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Research on the Diversification of the Development Direction of Traditional Dance in China's Intangible Cultural Heritage (중국 무형문화재 전통무용 전승 발전 방향의 다양화 연구)

  • Wang, Mengjia;Kim, Kyung-Hoi
    • The Journal of the Korea Contents Association
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    • v.22 no.3
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    • pp.141-151
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    • 2022
  • Taking the different inheritance methods of representative successors, dance education at university, and convergent media as a research object, this research discusses the changes in the development direction of inheritance of traditional dances of China's intangible cultural heritage, analyzes the inheritance and development path of traditional dances. The purpose of this research is to realize the inheritance of dance culture and strengthen the influence of Chinese traditional dance culture in the world.

A Direction of Developing a Traditional Cultural Content of Korean Court Dance Oyangseon - With a Base on the Historical Transmission, Reception of Asian Traditional Dance - (궁중정재 <오양선>의 전통문화콘텐츠화 시론 - 아시아 전통춤의 전파와 변용을 바탕으로 -)

  • Huh, Dong-sung
    • (The) Research of the performance art and culture
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    • no.35
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    • pp.509-541
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    • 2017
  • The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

A Historical Study on the Mime in Chinese Theater (중국 마임에 대한 역사적 고찰)

  • An, Sang-Bok
    • (The) Research of the performance art and culture
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    • no.18
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    • pp.201-221
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    • 2009
  • This paper is a historical study on mime or pantomime in the chinese theater. What is the origin of chinese mime? This is a very difficult question to answer. But I thought its early model can be found in actions of ancient actors who are believed to precede any genre of theater and actually I could found a very significant proof in historical records which have been ignored generally. It is an episode of Youmeng(優孟) in Chu(楚) dynasty. According to this episode, the history of chinese mime has lasted at least over 2600 years. In my opinion, chinese mime had been organized in ritual genre in early theater and its development had been mostly based on the jiaosehangdang-system(脚色行當制). Most chengshi-movements(程式動作) of zuo(做) and da(打) have been organized in recent several centuries. But a further study on them shows us that the real origin of them is the ancient dance wu(舞). Afterwards the wu(舞) separated into two types of dance the so-called wenwu(文舞) and wuwu(武舞). So we can say that wenwu(文舞) and wuwu(武舞) had a direct influence on most chengshi-movements(程式動作) of zuo(做) and da(打).