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- 저자 : 박자은(Park Ja Eun) (검색결과 6 건)
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조선시대(朝鮮時代) 궁중정재(宮中呈才)와 예악사상(禮樂思想) -정재의 역사적 변천을 중심으로-
박자은 ( Ja Eun Park ) 한국무용연구학회 2008 한국무용연구 Vol.26 No.2
There have been various kinds of dances in Korean dance history. This thesis has been written based on the historical view that the artistry of Korean dance is originated from the court dance called `Jeongjae` having existed for the history of five millennia with intension to highlight Court Jeongjae as an independent idea of Ye-Ak in which shamanism and Buddhism are mixed based on a composite artistry. Understanding of the court dance that has lived through Three-Kingdom time, Goryeo dynasty and Joseon dynasty until today can be a must-study in the research of dance. Since the ancient time, the origin of dance has beenunderstood as a composite art that goes together with music (accompaniment), poem (song) and dance (dancing). In particular, the composite artistry of Jeongjae, the Joseon court dance, is integrated in the idea of Ye-ak. Therefore, if the idea of Ye-Ak was the artistic idea of Joseon dynasty that claimed Confucianism, the form of courtesies seen in Jeongjae was based on the idea of Ye-Ak that was finally integrated into Ak (樂, which means music and/or joy)embracing societies and cultures at that time.
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임학선 ( Lim Hak-sun ),박자은 ( Park Ja-eun ) 한국무용연구학회 2018 한국무용연구 Vol.36 No.4
As part of the restoration of the historically original form of the 'National Intangible Cultural Heritage 85, Seokjeon Daejae Ilmu, this paper will start from the imperative that the correct succession of the tradition should not be destroyed or damaged in its original form for any reason. The Seokjeon Daejae Ilmu, which today is called 'Munmyo Ilmu‘, is a Confucian ritual dance in honor of Confucius, and its historically original form is described in the illustrated guide for dance. The objective of this study is that the investigation of the original form should be a dance based on the illustration guide for dance. The heritage of a nation must be preserved and inherited in accordance with its historically original form. In addition, the rite of sacrifice is a ritual or system that defines and compromises, reflecting the social culture of the country, so the principle of transmission must also be based on authority. Therefore, this paper examines the historically original form of Ilmu and seeks a proper way of succession of the tradition, based on the comparison between the Ilmu of 1980 and 2006. This is expected to be a good example for the study of the foundations of traditional arts as well as neighboring sciences.
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박자은 한국무용연구회 2010 한국무용연구 Vol.28 No.2
시대를 불문하고 인류가 염원하는 아상은 언제나 지난한 과거가 아닌 찬란한 미래를 향하고 있다. 때문에 전통시대의 문화를 소극적이고 진부한 역사의 잔여물로 치부 해버리거나, 때론 이 조차 홀대하기 십상이었다. 이러한 점에서 볼 때, 우리는 20세기 전반 당시의 신문화 사조가 의미하는 새로움에 대해 어쩌면 막연한 혜택만을 기대하고 있었을 지도 모른다. 하지만 외세의 잦은 침탈과 시달림으로 행방이 묘연해진 전통 예술의 자취를 못내 아쉬워 할 수밖에 없었던 것 마저 당시 또 하나의 모습이었음을 간과해서는 안 될 것이다. 때문에 20세기 전반의 한국은 근대화의 도입과 함께 서민의 삶은 물론 사회문화 전반의 지형을 전환하는 중요한 시점이었음을 분명히 해야 할 것 이다. 특히 역사적 암흑기이기도 했던 1920년대의 경우, 예술은 물론 그 비평을 기대하기란 결코 쉽지 않았을 것이다. 즉, 그러한 열악함에도 우리의 예술은 또 다른 새로움을 잉태하였고 이에 대한 평가의 작업도 조심스레 형성되기 시작하였다는 것 또한 근대유입기의 현실이었으니 말이다. 일제의 민족문화말살정책에도 불구하고 우리의 예술분야는 상당한 발전을 꾀한 시기였으며 이에 비평가들의 출현과 함께 춤 비평작업의 역사도 시작되었다. 따라서 본 연구는 1900년대 전반의 한국의 문화와 춤 비평의 탄생을 되짚어보고, 이는 한국의 춤 비평에 있어서 어떠한 태생적 근간이 되었는가에 대해 유추해 보는 계기를 마련코자 한다. 역사의 완성이란 과거도 현재도 아닌 바로 미래의 몫이라 생각된다. 그러므로 과거의 사태를 파악하고 현재를 통찰할 수 있어야 할 것이며 이것이 곧 미래를 도약하기 위한 또 하나의 기반이 될 것이다. Early in the 1990s, the culture of traditional era was likely to be regarded as the passive and old-fashioned remains of the out-dated history due to the aspiration for the new by the age. Thus, in the early 1990s, the new meant by the new-culture trend then may have represented ever-lasting advantages. It was the reality of the modernity introducing age that Korean culture was pregnant of another newness and criteria for evaluation of such newness was also getting formed carefully. Considering this background, in this study, I looked back over the birth of Korean culture and dance criticism in the early 1900s. Also, I tried to analogize the impact such Korean culture had on the birth of Korean dance criticism. The Korean political and cultural situation accepting the modern era then was projected into arts and reflected as it was into new literature, drama, music and dance. The art criticism also could not avoid such reflection. Such matter as the establishment of national culture should be one of the issues that continuously emerged also in the dance art and criticism on the extension of the previous age. In this regard, therefore, it is believed that this study is to prescribe the character of the very next age. Completion of history is thought to belong to neither the past nor the present but to the future. For, understanding the past and having an insight into the present are another basis for leaping toward the future. Along with the annexation of the Great Korean Empire by Japan, the hegemony in the 1900s was transferred to Japan. Especially during the cultural domination era by Japanese, the 1920s in which Japanese culture was massively introduced, Korean race obliteration by Japanese started to systematically eat up the Korean culture through policy implementation. The liberation space assessed as the stagnant or confusion period was the enlightening period to inspire the national spirit through special history based political situations and cultural activities. Therefore, such issue of the national spirit inspiration as the establishment of national culture could not help but continuously appearing in dance art and criticism on the extension of the previous age. The Korean dance criticism first introduced by Dong-Hwan Kim in 1927 stretched its vein to Ee-Moon Kang, Dong-Hwa Cho, Gyoung-Ok Kim and etc through the liberation period till the beginning of 1950s. That is, a new critical culture began but the criticism then did not get up to the earnest critique level because there was no critical journal yet and most of the critique writings were published through daily papers instead of criticism specialized journals that did not exist yet then. It should be, however, noticed that criticism hardly seen in the previous era took its place in that era, so that the relation between creation and criticism was created and then, as a result, criticism was expected to be specialized as social consciousness of dance changed at that time.
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