고려악 호접무를 통해 본 일본문화의 형성

이부용 동국대학교 일본학연구소 2017 일본학 Vol.44 No.-

Dance gives a ceremony regular order through the movement of the body. It also demonstrates the cultural influencing power of the host. In this study, I examine one example of a type of performing art classified in Japan as Korean music (Komagaku), the Butterfly Dance, which was popular in the traditional Japanese court. To investigate the effect of cultural diffusion, I analyzed Japanese literature and historical records, identifying three main characteristics of the Butterfly Dance. First, it is a dance for children. For example, in one episode in The Diary of Kagerou, Ou Yoshimochi, the famous dancer, teaches the dance to children. In addition, in The Tale of Utsuho, it is performed by children along with the Peacock Dance during the welcoming party for the young Inu Miya, Second, the dance is often performed in Buddhist ceremonies, along with bird dances such as the Peacock, the Parrot and the Kalavinka dances. Third, the Butterfly Dance relates to the image of The Land of Happiness of Taoism. For example, in The Tale of Genji, the dance is used to depict Rokujouyin as an ideal world. Furthermore, in The Tales of Konjaku, the episode of the priest Soga performing Butterfly Dance reflects the ancient image of pursuing freedom through a butterfly. In each case, the Butterfly Dance enhances the work by adding sound and visual effect. In conclusion, the Butterfly Dance shows that the cultural exchange between the Korean peninsula and ancient Japan has made Japanese culture more diverse and abundant. Ancient Korean Music has enriched the Japanese performing arts and has made a recurrent motif in Japanese culture through the medium of literature. 의식(儀式)에서 춤과 음악은 신체의 움직임을 통해 질서를 부여하고 주최자의 문화적 영향력을 보여 준다. 일본의 무악 호접무는 나라 시대에 전해진 고려악을 바탕으로 하고 있는데 10세기경에 일본에서 정비되어 그 후 가릉빈과 번무로 공연되는 대표적 무악이 되었다. 본 논문에서는 문화전파의 결과로 촉발된 일본문학과 역사에 나타난 호접무에 대해 조사하였다. 호접무의 특징은 다음의 세 가지로 정리될 수 있다. 첫째, 호접무는 주로 동무로 공연된다. 관련하여 문학작품 속의 예로 『가게로 일기』의 활쏘기 시합 장면에서 오 요시모치가 호접무를 춘 기술을 바탕으로 동무로 공연된 호접에 대해 살펴보았다. 또한 『우쓰호 이야기』 「로노우에」 하권의 예를 통해 어린 이누미야를 환영하는 연회에서 공작무와 함께 호접무가 공연되는 장면을 분석하였다. 둘째, 호접무는 불교 의식을 시각적으로 극대화하는 역할을 한다. 헤이안 시대의 한문일기 『쇼유키』 등의 기록을 통해 개안공양회, 사리회 등에서 새 춤과 함께 호접무가 펼쳐졌음을 확인하였다. 셋째, 호접무에는 도교적 세계관이 들어 있다. 『겐지 이야기』 「고초」 권의 로쿠조인의 계절독경 및 『곤자쿠 이야기집』의 소가성인의 임종 설화를 통해 자유롭고 초월적인 존재인 나비를 통해 도교적 이상향의 세계를 꿈꾼 고대인들의 세계관을 엿볼 수 있다. 호접무의 인용은 소리예술과 시각예술적 요소를 부여하여 각각의 문학작품을 풍부하게 한다. 이상의 고찰을 통해 한반도와의 문화교류가 호접무와 같은 일본의 전형적 무악을 낳게 하고 문학작품 속의 고려악 인용을 통해 일본적 문화원형이 만들어지는 과정을 살펴보았다. 고려악의 전파는 그 최초의 계기가 되고 있음을 알 수 있다.

무용관객 개발을 위한 감성마케팅 전략에 관한 연구 -무용축제를 중심으로-

정지윤 ( Ji Yoon Jung ) 대한무용학회 2010 대한무용학회논문집 Vol.65 No.-

The purpose of this study is to explore ways to apply emotional marketing in dance marketing, in order to overcome the limitation of conventional marketing and to switch potential audiences to real audiences in dance. The conventional marketing is only for audiences who are interest in dance, without pursuing profits in dance art. Therefore, this study suggests emotional marketing strategies after researching and analyzing the current condition of dance marketing. This emotional marketing is divided into 3 parts, which are sensitive marketing, cultural marketing, and impressive marketing. Emotional marketing is actively applied in dance festivals, and people use experience marketing in outdoor performances by drawing friendly reaction toward dance performance. Other marketing strategies expect emotional marketing to use posters which are not tried in dance contests, so it is urgent to develop new marketing strategies for ordinary people who will be new audience in dance world, in order to overcome the limitation of performance only for dance majors. Emotional marketing shares an area with art in stimulating people`s emotion. It could display its real worth when it is combined with dance performance. Also, it is necessary to develop a long-term strategy which could enhance more relations with dance art. This does not mean promoting temporary effect, which just includes the elements of the emotional marketing. Rather, this should be related with experience marketing such as dance education. This could influence positively on the development of the arts expressing people`s inner side as well as dance performance.

무용학 : 대학교양무용경험이 무용참가에 미치는 영향

김혜정(KimHye-Jeong) 한국체육학회 2003 한국체육학회지 Vol.42 No.4

The purpose of this study is to find out how much general dance experience in higher education influences on dance participation of university students and to investigate factors related to dance experience and dance participation.Research hypotheses and casual model were designed, based on the previous studies and theories. Personal traits, significant others were set as background variables, general dance experience in higher education as independent variables, dance attitude and dance intervene as intervene variables, and dance participation as a dependent variable.The subjects were 800(dance experience 338, non experience 462) college students for all located in Seoul, Kyungki, Chungnam province by purposive sampling method. Data were collected by using the questionnaire whose validity and reliability were tested.ANCOVA, multiple regression analysis and path analysis method were also used in order to test the hypotheses. Each hypothesis was tested at the signigicant level of .05. On the basis of the results, the conclusions were drawn as followings:1. Duration and frequency of dance experience were positively influenced by interesting and satisfaction about dance.2. Dance experience were positively influenced by dance intervene.3. The more dance experience, the higher behavior participation.4. The higher interesting and satisfaction about dance, the higher cognitive participation.5. The higher time and effort for dance, the higher behavior, cognitive and affective participation.6. There were significant causal relationships among general dance experience in higher education, extent of dance intervene, and dance participation of college students.

무용유형별 기본동작 수행 중 호흡순환계의 반응 비교

남윤주(Nam Yun-Joo),김병로(Kim Byung-roh),김향금(Kim Hayng-kum) 한국체육과학회 2003 한국체육과학회지 Vol.12 No.2

The purpose of this study was to compare and analyze the respiratory-cardiovascular response among dance styles during the basic posture dance. The subjects of this study was 7 female students in C University, and each student executed the basic posture of each styles of dances three times with the interval of one week. The results of this study were as follows. 1. During the execution of basic posture for each styles of dances, there were significant differences in HR according to dance time, but did not showed significant difference according to dance styles. 2. During the execution of basic posture for each styles of dances, the VO₂ was showed significant difference according to dance time and dance style. The VO₂ in the Korean dance was lower than that of the ballet and modem dance. 3. During the execution of basic posture for each styles of dances, the VO₂/㎏ was showed significant difference according to dance time and dance style. The VO₂/㎏ in the modem dance was showed greater than that of the Korean dance and the ballet. 4. During the execution of basic posture for each styles of dances, the VCO₂ was showed significant difference according to dance time and dance style. The VCO₂ in the modem dance was showed greater than that of the Korean dance and the ballet. 5. During the execution of basic posture for each styles of dances, the VE was showed significant difference according to dance time and dance style. The VE in the modem dance was showed greater than that of the Korean dance and the ballet. 6. The total energy expenditure in the modem dance was showed higher than that of the Korean dance and the ballet. 7. The VO₂max in the modem dance was showed higher than that of the Korean dance and the ballet. 8. There was no effect of interaction in HR according to the dance time and dance styles, but it was showed that there were effect of interaction in VO₂, VO₂/㎏, VCO₂, and VE respectively.

댄스, 부채춤, USIS 영화: 문화냉전과 1950년대 USIS의 문화공보

김려실 한국문학연구학회 2013 현대문학의 연구 Vol.0 No.49

This paper examines Americanization of Korean culture after the Korean war and the several cases of USIS Korea’s information affairs focusing dance to figure out various aspects of the cultural cold war in the realm of art,comparatively has not long considered. After the war, ballroom dance was spread widely in Korean society, tied in with American democracy and modernism under the US cultural hegemony. Hollywood movies and USIS films represented dance as not only American life style, but the symbol of liberty, equality, and progress, and thus, it worked as the signifier of modernity in postwar Korea. Also the attitude to persue modernity through dance was diffused in concert with Korean government’s policy to legalize ballroom dance. On the other hand, Korean traditional dance was considered important as regards USIS Korea’s cultural information affairs,reoriented localization strategies at that time. USIS Korea paid attention to Korean dancer, Kim Paik Bong, once north Korean refugees, supported her dance company, and made films on her dance performance to promote her artistic activity to the world. Including Fan Dance, these films introducing Kim Paik Bong’s Korean Dance aimed to show that U.S. fully understood Korean art and culture and tried hard to protect and reconstruct them. Her dance was one of important cultural indexes to indicate the successful reconstruction of postwar Korea, yet it was also a reflection of the cold war orientalism like in the case of Art Mission to Southeast Asia, the anti communist cultural event of Free Asia. 이 논문에서는 상대적으로 연구가 일천한 예술 영역에서의 문화냉전의양상을 검토하기 위해 무용(dance)을 대상으로 전후의 미국화와 USIS의문화공보의 사례를 살펴보았다. 전후 한국에서 댄스는 미국의 문화적 헤게모니 아래 미국식 민주주의 및 모더니즘과 결부되어 전파되었다. 할리우드영화와 USIS 영화는 댄스를 미국적 생활양식으로서 뿐만 아니라 자유, 평등, 진보의 상징으로 표상했고 한국사회에서 댄스는 곧 근대성의 기표로 자리 잡게 되었다. 댄스를 통해 근대성을 추구하려는 태도는 댄스를양성화하려는 한국정부의 정책과 맞물려 확산되었다. 한편 한국무용은USIS의 문화공보 현지화 전략상 중요했다. 월남한 한국무용가 김백봉에주목한 USIS는 그의 무용연구소를 지원하고 영화제작을 통해 그의 예술활동을 전 세계에 홍보했다. <부채춤>을 비롯하여 김백봉의 한국무용을소개한 이들 영화는 미국이 한국의 예술과 문화를 충분히 이해하고 있으며 그것의 수호와 재건을 위해 노력을 아끼지 않는다는 것을 보여주려 했다. 즉, 그의 무용은 전후 한국의 성공적 재건을 보여주는 문화적 지표였던 동시에 동남아 예술사절단 파견이라는 자유아시아의 반공 문화 이벤트에서 볼 수 있듯 냉전 오리엔탈리즘의 반영이기도 했다.

댄스참여자들에 대한 중요타자의 여가지지가 삶의 만족과 댄스만족에 미치는 영향

박지원(Park, Ji Won),박희태(Park, Hee Tae),김경신(Kim, Kyoung Shin) 한국여가문화학회 2021 여가학연구 Vol.19 No.2

본 연구의 목적은 댄스참여자들에 대한 중요타자의 여가지지가 댄스만족에 어떻게 영향을 미치는지 알아보는 것이다. 이 연구를 수행하기 위하여 유의표집법을 이용하여 댄스활동을 하고 있는 만19세 이상의 성인 300명을 대상으로 설문조사를 실시하였다. 응답이 불성실한 18부와 댄스활동을 여가활동으로 인식하지 않는 참여자 30명의 설문지를 제외하고 252부를 자료분석에 활용하였다. 설문지의 타당도와 신뢰도를 측정하기 위하여 탐색적 요인분석을 실시하였으며, 신뢰도를 측정하기 위하여 Cronbach s α값을 확인하였다. 중요타자의 여가지지와 삶의 만족, 중요타자의 여가지지와 댄스만족의 인과관계를 살펴보기 위하여 다중회귀분석을 실시하였고, 그 결과 다음과 같은 결론을 갖게 되었다. 첫째, 중요타자의 여가지지는 삶의 만족에 긍정적 영향을 미친다. 둘째, 중요타자의 여가지지는 댄스만족에 긍정적 영향을 미친다. 이는 댄스에 참여하는 참여자의 삶의 만족이나 댄스 만족을 높이기 위해서는 댄스 프로그램에 대한 질적 부분도 중요하게 작용하지만, 참여자 주변인의 여가활동에 대한지지 정도 또한 중요한 작용을 할 수 있음을 확인 할 수 있었다. 다시 말해, 댄스 활동을 활성화 시키기 위해서는 참여자의 중요주변인이 댄스를 긍정적으로 인식할 수 있게 하는 노력이 필요하며, 중요 주변인을 위한 체험성 프로그램의 운영이 하나의 방안이 될 수 있을 것이다. The purpose of this study is to find out how significant others leisure support for dance participants affects life satisfaction or dance satisfaction. To carry out this study, a questionnaire was conducted for 300 adults 19 years of age or older who are engaged in dance activities using a significance sampling method. Used for research. The study was conducted by utilizing the leisure support, life satisfaction, and dance satisfaction of the significant other. Exploratory factor analysis was performed to measure the validity and reliability of the questionaire, and Cronbach s α value was checked to measure the reliability. In the case of factor analysis, values ​​of .5 or more were used, and the reliability analysis showed a high reliability value of .8 or more. Multiple regression analysis was conducted to examine the causal relationship between the leisure support and satisfaction of life of the significant other, the leisure support of the significant other, and the satisfaction of dance. As a result, the following conclusions were drawn. First, the extravagance of an significant other has a positive effect on life satisfaction. Second, the extravagance of an significant hitter has a positive effect on dance satisfaction. This study shows that the quality of the dance program plays an significant role in order to increase the satisfaction of the participant s life or dance satisfaction. I was able to check through. In order to revitalize dance activities, it is necessary to make efforts in areas that allow people around them to positively recognize dance, and it is also necessary to operate an experience program.

리얼리티 서바이벌 「댄싱9」의 성공요인 분석과 발전방향

이지원 ( Jiwon Lee ) 한국무용예술학회 2014 무용예술학연구 Vol.47 No.2

「Dancing 9」the first organized dance survival program in 2013 has been an important role in public’s reconsideration on the awareness about dance. We need to consider the social ramification and positive role of the first Korean real survival style dance audition program that succeeded with the highest rating of 2.8% when generally 1% or above of rating are thought to be successful. This program contained composition and structure that can be appealing to the public in many aspects. First of all, with a colorful editing, the storytelling of the participants was realistically descriptive and the existence of the Masters served as a true sympathizer and guide. In addition, the binary ideology of survival or elimination, which reflects the infinite competition of the modern day society increased dramatic tension and with a physical, quantitative investment the scale and spectacle of an audition survival was created. Moreover, it acted as a healing process that could go near the sincerity of dance. Furthermore, it first acted as a window for discovering new talent and producing artists. It presented an opportunity to prove that dance is an art that can be enjoyed by the public. Secondly, it popularized dance and attained diversity in dance. It brought a chance to present modern art that was negatively thought of as cryptic or profound and a variety of dance like street dance that embrace individuality and passion. There can also be points to be corrected in Season2. The show must overcome editing or bias that can incline artistic evaluation to be commercial. Secondly, the show must be focused on the dancer’s dance. Special attention needs to be paid to camera entrance, exit and stage management so there will not be incidents where the dancer’s movements are not tracked. Lastly, a more detailed explanation needs to be given as to why the dancers survive or not so that the public can empathize. Because the competences of the Masters are emphasized in this show, careful description of technical terms or points to consider should be given in fairness. A fair selection process not based on appearance or age can change the shape of how dance is perceived. For the show to be identified with more viewers, a more beautiful view on the sincerity of dance is needed rather than a ‘devilish editing’. Hopefully, the program can be a stepping stone for many dancers who wish to follow their dreams and can be an applauded proposal for dancers’ endeavors.

무용수업의 재미가 수업만족과 무용선호도에 미치는 영향

정지혜,한수연 숙명여자대학교 건강·생활과학연구소 2009 生活科學硏究誌 Vol.- No.26

The purpose of this research is to identifyhow a degree of enjoyment in dance classes affects the preference for dance through examining the relationship between satisfaction from the enjoyment the dance classes and preference in dance, and then to suggest directions to revitalize dance classes with presenting positive effects of dance. As methodology of the research, convenience sampling in non-probability sampling was adopted based on 271 set of data which were collected from questionnaires conducted to the first and the second grade high school students in Seoul in 2008. To examine satisfaction and preferences in dance in accordance with enjoyment level of dance classes and to verify the hypothesis, SPSS 12.0, frequency analysis, correlation analysis and multiple regression analysiswere used in the research. The results through the above methodology are as below. First, demographic characteristics partially affect enjoyment factors in dance. Depending on social class, there exist significant differences in the sub-factors in terms ofphysical and mental health maintenance. In specific, notable differences were shown between middle-high level and high level groups, middle level and middle-low level groups, middle-low level and low level groups. There was, however, no significant difference made according to academic year, grade ofschool work and experience in dance. Secondly, it was identified that enjoyment level of dance classes affects that of satisfaction in dance classes. Looking at the sub-factors of class enjoyment, physical and mental conditions and a sense ofachievement statically affects class management, teaching and environment. Also, the maintenance ofphysical and mental health makes static influences in students' health which is subset of satisfaction factors. Lastly, enjoyment level ofdance classes affects preference in dance classes. Maintenance ofphysical and mental health, social development, and a sense of achievement have static influence on preferences in dance classes.

댄스의 시대적 흐름과 변천

천수정(Cheon, Su-Jung) 한국체육과학회 2014 한국체육과학회지 Vol.23 No.3

This study began to take in the popularity of dance which divided in earnest to process an inflow of the popular dance before the liberation and after the liberation. I try to analyze and arrange the popular dances of each era from the 1950s to the present day fashion. After the liberation, the 1950s shown the phenomenon of the unconditional acceptance which the Western culture was the contemporary situation confusing. it attracted Mambo, Cha Cha Cha, Tango, Viennese waltz, such as explosively popular western dance. The 1960s, it prevailed the rock and roll and twist with the influence of the American popular music. The 1970s, it prevailed the Soul, disco that was the popular of the television. Especially in the 1980s, the pop market is active as the disco and break dancing to the youth who have influenced. In the 1990s, the popularization of the dance has expanded to recognize the positive which was spread of jazz dance and Latin dance with hip-hop, dance sport and techno dance. In the 2000s, it was interest with increasing health, beauty, diet, leisure who liked the diet dance and Tae-Bo. and in the 2010s, it prevailed line dance, TV dance and K-pop.

무용학 : 1970년대 남·북한 무용교육에 대한 연구

김운미(KimUn-Mi) 한국체육학회 2003 한국체육학회지 Vol.42 No.4

This study attempted to make a comparative analysis of the realities of dance education in the 1970s when South Korea and North Korea sought to construct their independent political system in a different framework of capitalism and socialism.First, in case of South Korea, education was provided for people based on the ideology of The National Charter of Education in an attempt to adopt strong nationalism as the prime mover for national integration under the regime of Revitalizing Reform that proclaimed Korean-type development dictatorship. On the other hand, North Korea adopted the theme for education of socialism as the comprehensive guidebook to construct the hereditary regime handed down from Kim Il-sung to his son Kim Jung-il.Second, South Korea came to foster the climate for inciting the revival of national culture in the cultural and artistic but the rapid development of economy and the mass-production of wee-educated people facilitated the regime of Revitalizing Reform to collapse paradoxically. On the other hand, North Korea defined the cultural and artistic field as one of the means for strong and instigation to promote the learning of Chuche(identity) ideology and carried it into practice, thereby contributing to the completion of Kim Jung-il's hereditary regime.Third, the active presentation of creative dance based on dance education in Korea reestablished dance as composite arts through large-scale performance as the center of the dance world moved from the department of dance in college to the group of professors. But North Korea was faithful to themes while taking the form of prop for popularization and living because the artistry of all works was evaluated in accordance with the practice of the contents directed by Kim Il-sung and Kim Jung-il.Fourth, dance education showed the speciality mentioned in relation to creative dance as well as folk dance in the contents of instruction based on the Third Curriculum revised in 1973. It not only limited the object of education to female students but the introduction of the 'physical strength measurement system' made dance education further dwindle. On the other hand, dance education was provided only for female students as one unit of physical education in advanced middle school in North Korea and its content was composed only of artistic dance(rhythm gymnastics) and sports dance. But it can be found that its educational effect was greater than that of South Korea because of the policy of the party and its accompanying thorough practice for making all subjects available to all people.