한국 신무용의 태동과 발전과정에 관한 연구

• 영문명: A study on the historical development of New Korean Dance
• 발행기관: 경희대학교 스포츠과학연구원
• 저자명: 유옥재(You Ok-Jae)
• 간행물 정보: 『체육학논문집』제27집, 95~111쪽, 전체 17쪽
• 주제분류: 예술체육 > 체육
• 파일형태: PDF
• 발행일자: 1999.12.01

영문 초록

  Dance is an artistic form that expresses one’s emotions aesthetically through human natural movements. Since dance reflects living at the time, the history of New Korean Dance has attracted a lot of interest from a number of researchers. However, it is rather hard to investigate how it has developed historically because dance is not a material art form. Previous studies have also been limited in that they usually focused on a particular period or on the lives of particular dancers.
  The purpose of this dissertation is to examine how New Korean Dance started to develop into its present form and, by doing so, to explore its influence on present-day Korean dance. Following Ahn(1984), this study divides the history of New Korean Dance into four main periods: the Infancy Period(1926-1945), the Confusion Period(1945. 9-1950. 6), the Watershed Period(1950. 7-1961. 5), and the Flourishing Period(1961. 6-1972. 12). In this study, it is claimed that New Korean Dance began with the historical dance performance by Ishiipaku at Kyungsung Konghoidang on March 21, 1926. It was the first original stage performance in Korean dance history, and had a great influence on the subsequent development of theater dance. The main dancers during this Infancy Period include S. H. Choi, T. W. Cho, S. C. Bae, Han, and K. C. Bae. They put Korean dance on the stage as a group dance and made a significant artistic breakthrough by adding western elements. Thus, the dance during this period became the basis for the development of New Korean Dance.
  The Confusion Period is characterized by the Liberation from the Japanese oppression in 1945 and the outbreak of the Korean War. Due to the circumstances, there was no substantial development in Korean dance since most of the artistic activities were based on the ideology of that time. The primary purpose of the dance had been serving to comfort the army and the people without any creative development. The main dancers during this period are T. W. Cho, M. I. Kim, B. Song, S. B. Chin, D. I. Han, and C. H. Chang.
  The beginning of the Watershed Period was marked with unfortunate incidents where many noted dancers were either killed or kidnapped to North Korea during the war. However, as the war came to an end, dance started to flourish again with a number of commemorative performances in individuals or groups. The representative dancers during this period are T. W. Cho, B. Song, I. B. Lee, H. R. Kim, Y. H. Kim, P. B. Kim, S. B. Chin, and Y. C. Cho. In particular, such events as the opening of dance departments in colleges, dance performances in their graduation, and dance contests opened a new horizon for Korean dance.
  The Flourishing Period was the most active period in Korean dance history. The Korean National Dance Association was established, and a number of existing and new dancers started to expand their performances to provincial areas and abroad. These dancers, including P. B. Kim, S. B. Yim, B. Song, C. G. Kim, M. S. Kim, S. Y. Kang, A. C. Kim, and S. H. Song, played an important role in developing Korean dance as its present-day form.
  In conclusion, New Korean Dance started in 1926 historically, but the real development did not come until the early 1950s. In the mid 1950s, there began active performances by existing and new dancers. It was in the period from 1960 through the early 70s that New Korean Dance made a significant development as an independent art form. The main contributory factors were the establishment of the Korean Dance Association and other various dance groups, active performances in provinces and overseas, and the production of college graduated dancers and dance-related publications.

목차

ABSTRACT
Ⅰ. 서론
Ⅱ. 신무용의 태동
Ⅲ. 무용 활동
Ⅳ. 결론
참고문헌