• (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.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.268-276
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• 2022

This study examined whether K-pop dance is qualified as an academic subject and how university students perceive K-pop dance as a liberal art subject. The survey was conducted with 138 students. Among the total of 138, 40 participants were male, and 53 participants were female. Fourteen(14) participants had experience with K-pop classes, and 124 participants did not have any experience with K-pop dance classes. According to the study, K-pop is a form of Korean culture that adds unique cultural and social characteristics to Koreans. It is in the cultural and art education category. In addition, K-pop dance is a socio-cultural phenomenon characterized by dance. However, K-pop dance is not qualified as an academic subject because it lacks theoretical foundations. The survey result also revealed that the students did not perceive that K-pop dance had personal, aesthetic, social, or educational value. They did not want to take a class if K-pop dance is offered as an academic subject in liberal art class. When analyzing the data by gender and experiences with dance classes, there was a difference based on gender in the two questions. In the case of females, they responded to having fun and joy from K-pop dance, while male respondents did not. Regarding the learners' interest in Kpop dance class, female respondents were more optimistic about the learner interest than male respondents. In conclusion, K-pop dance is a sociocultural phenomenon, and many informal online courses are created daily, spreading everywhere. However, the status of K-pop dance as an academic area is not set up yet.

• (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.

• (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.

• International Journal of Contents
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• v.6 no.4
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• pp.101-107
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• 2010

I aim to discover that how greatly the curriculum of Life Dance department has had an effect on the career of students majoring in dance, with research objects being Life Dance department of two universities, located on the metropolitan area. The study method, called qualitative, includes some suggestions on the curriculum of the two and comparison, analysis of job-related materials; further, it involves discussion on the influence the curriculum has had on the career as dance trainers. The results from it are as follows; first, the curriculum of the department mostly consists of pure art such as Korean dance, modern dance, ballet, but has few creative life dance programs. Second, the employment into the art area has been more often than to the counterpart. Finally, it shows that a title of a department does not make a big difference and affect the employment rate. In conclusion, as the completion of the curriculum does not always guarantee a success, it is recommended that college students get some competent certificates related to dance.

• Journal of Digital Contents Society
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• v.14 no.4
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• pp.493-503
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• 2013

Through everyday life to an art work creation, the computer technology is using intimately and infiltrated deeply in the digital era. Particularly dissemination and miniaturization of the computer cause remarkable development of computer and mobile game industry. Its popularity in general is reaching to the art field. This study contemplate the aesthetic changes and characteristics in game and dance convergence investigating the concept of art game and dance game as a new art form.

• (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.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.47-57
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• 2019

The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.315-316
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• 2019

By understanding the concept of transculturality, this paper tries to look at the mixedness shown in modern dance works in Korea. By shedding light on the transculturality character that Welsch, emphasizes, we will interpret the artistic transition and the art phenomena that appear in Korean dance.