"댄스 리터러시" 개념 틀에 근거한 한국무용 핵심요인의 탐색

김현정 한국무용과학회 2019 한국무용과학회지 Vol.36 No.2

Now days concern and practice about dance as Culture and Art Education that purpose is to have Culture and Art literacy. However, the concern insufficient about Korean Dance that is part of Culture and Art Education. Since recently Many study have been being about Dance literacy that purpose of dance education as Culture and Art education, Dance Literacy concept is able to apply to Korean Dance study. The purpose of study is to explore the Korean Dance essential elements(purpose, contents, factor) based on conception of dance literacy. The research method of the study is literature analysis about Korean Dance studies by dance competence, dance knowledge, dance disposition that elements of dance literacy. The research result of the first, Korean dance competence is that the purpose of know how to do art expression skill of Korean Dance. To do this, we should understand contents about of korean dance body, music, emotion and expression. It can express through factor of movement, rhythm, breathing, moving line. Second, the purpose of Korean Dance knowledge is cognitive understanding of Korean Dance. To do this, we should understand contents about of Korean culture, history, philosophy and arts. It can get through factors that Korean Dance history, dance notation and creative method. Third, the purpose of Korean Dance disposition is understanding aesthetic state of Korean Dance. We can understand through contents about sensitivity, spirituality, religion and aesthetic. If it can understand through factors that Yin-Yang and five elements, Taeguk philosophy, the Unity of Heaven and Human philosophy, benevolence(仁), virtue (德), affection(情), you will have a high level of Korean Dance Literacy. This study is significant discuss in Culture and Art Education context about Korean Dance. This study can be used any korean dance education field. I proposed some future directions for developing teaching method and education program through get to education field and teacher. 현재 문화예술교육으로서 무용에 대한 관심과 실천이 높아지고 있으며, 이는 문화예술 소양을 갖추는 것을 목적으로 한다. 그러나 문화예술교육에서 한 부분을 차지하고 있는 한국무용에 대한 관심이 미흡한 실정이다. 최근 문화예술교육으로서 무용교육의 목적으로 제시된 댄스리터러시에 대한 관심과 연구가 많이 진행되고 있기에, 이를 한국무용에 적용하여 볼 만한 가치가 충분하다. 본 연구의 목적은 문화예술교육의 목적인 댄스리터러시의 개념에 근거하여 한국무용의 핵심요인(목표, 내용, 세부요소)을 탐색해보고자 한다. 연구 방법은 지금까지 한국무용 연구들을 댄스리터러시의 구성요소인 무용능, 무용지, 무용심을 기준으로 문헌 분석하고자 한다. 연구결과는 첫째, 한국무용 능은 한국무용의 기능적 예술표현하기 위함이 목표이다. 이를 위해서는 한국무용의 신체, 음악, 감정, 표현의 내용을 이해해야 한다. 이는 한국무용의 동작과 장단, 호흡, 동선의 세부요소들을 통해 실천해 볼 수 있겠다. 둘째, 한국무용 지는 한국무용의 인지적 이해를 목표로 한다. 이를 위해서 한국의 문화와 역사, 철학, 예술의 내용을 통해 이해할 수 있으며, 이는 한국무용사와 기록법, 안무법, 창작법의 세부요소들을 통해 얻을 수 있다. 셋째, 한국무용 심은 한국무용을 심미적 상태로 이해하는 것을 목표로 한다. 그 내용으로 감성과 영성, 종교, 미학을 통해 얻을 수 있다. 이는 세부요소인 음양오행과 태극사상, 천인합일사상, 인(仁), 덕(德), 정(情)의 이념에 대한 이해가 한국무용을 수준 높은 경지로 즐길 수 있게 할 것이다. 본 연구는 문화예술교육의 맥락에서 한국무용에 대해 논의하였다는데 의의를 가지며, 이는 여러 한국무용 교육 현장에서 활용될 수 있을 것이다. 후속 연구로는 실제 교육 현장의 교육 강사들을 통해 얻어지는 교수방법 및 프로그램 개발을 제안한다.

한국 민속춤 수행에서 호흡이 갖는 중요성 -동북아시아의 사상적 관점에서-

심민서 이화여자대학교 한국문화연구원 2011 한국문화연구 Vol.21 No.-

This study was conducted to see the relationship between respiration and distinctive movements in Korean dance. Especially, it focused on identifying the reason why respiration is emphasized in Korean dance, based on which function the respiration does on performing the movements. The content starts from analyzing the cultural foundation of Korean dance;the northeast Asian outlook on life, environment and body. Then, it continues with studying the features of Korean dance that is mentioned commonly in previous studies. Through this analysis, the study shows that northeast Asians have an integrated mindset which emphasizes the relation of each individual. This mindset is reflected in the principles and features of Korean dance. Through this the reader will see how the northeast Asian cultural factors are mirrored in Korean dance. The respiration system of Korean dance is a vertical circulation process centered on spine. This makes the continuous connecting movement from head to toe. Moreover, in the process of pursuing the movements that matches the flow of respiration, the body moves as a whole, instead of moving in separate parts. Thus, each part of the body makes a continuous movement, making one big flow. This movement of Korean dance is shown in a curvilinear shape. This can be perceived as focusing more on the flow of small movements, not on the enumeration of highlighting movements. Furthermore, the technique of holding and releasing breath decides the general rhythm of the dance, and also the flow and the artistical characteristic of the dance. Most of all, the Korean dance, which consists of continuous repetition of inhaling and exhaling, creates simple and repeating movements. This allows the performer to experience ‘the state of ecstasy’ during the dance. ‘The state of ecstasy’ is a state where the performer overcomes the normal state of self-being. At this state of mind the performer can experience the dissolvement of boundaries between self and outside world. This can trigger the qualitative artistic improvement in one’s performance. Thus, the respiration is a core base in Korean dance, which affects not only the movement of the dance, but also the mental state of being that the performer has to achieve. 본 연구는 한국 춤 전공자들 사이에서 호흡을 움직임의 근원으로서 중시하는 경향이 있음에 주목하여 한국 춤에 나타나는 움직임과 호흡의 관계를 동북아시아의 사상적 관점에서 고찰하였다. 춤이라고 하는 문화 현상은 한 사회의 문화적 맥락과 분리되어 존재할 수 없으므로 본고에서는 한국의 민속춤과 호흡에 대해 본격적으로 논의하기에 앞서 동북아시아의 세계관과 자연관, 그리고 신체관을 살펴보았다. 그 결과 동북아시아에서는 각 개체들의 유기적 관계성을 강조하는 통합적 사고를 해왔음을 알 수 있었으며 이는 한국 춤의 움직임 원리와 특성에도 반영되어 있음을 알 수 있었다. 한국 민속춤을 추는 무용수에게 무엇보다 중요한 것은 호흡의 흐름에 일치하는 움직임을 추구하는 것이다. 따라서 한국 춤 움직임의 특성으로 회자되는 거의 모든 항목들은 호흡의 작용으로부터 파생된 움직임의 형태적 특성이다. 무용수는 평소에 흉부에만 머무는 호흡을 깊이 쉬기 위해서 하복부에 의식을 두고 들숨과 날숨을 반복하게 되는데 이러한 숨과 일치된 움직임은 신체의 각 부분이 유기적 통합성을 가지고 일어난다. 그 결과 춤의 움직임은 곡선의 형태로 드러나고 춤의 전 과정은 미세한 움직임들이 연속적으로 흘러가는 양상을 띠게 되는데 이는 발레로 대표되는 서양 춤이 완결성을 갖춘 주요 동작들의 나열로 이루어진 것과 확연히 다른 점이라 하겠다. 이러한 움직임의 흐름은 등속도로 이루어지지 않는데 이는 호흡을 맺고 푸는 기법에 따라 움직임의 완급이 결정되고 그에 따라 춤의 리듬이 형성되기 때문이다. 이와 더불어 무용수는 자신의 숨에 자신의 몸짓을 일치시켜 나가면서 내면을 향한 집중력을 높여나갈 수 있으며, 굴신운동과 같은 반복적인 움직임이 수반되면서 내면으로의 몰입이 더욱 가속화되어 무아경, 즉 엑스타시를 경험하게 된다. 엑스타시의 상태는 일상 의식의 초월 상태로서 자신과 외부의 경계가 사라지는 체험을 의미하며 이때 무용수는 예술 행위의 질적 향상을 경험할 수 있다. 따라서 한국 민속춤을 수행하는 과정에서 무용수의 호흡은 춤의 움직임은 물론 무용수가 추구해야 할 정신적 경지에 영향을 미치는 한국 춤의 주요 기제이다.

대학생의 한국문화인식, 한국무용지식, 한국무용정보요구도 그리고 추천의도의 인과관계분석

이윤정(Lee, Yun-Jung),서희정(Seo, Hee-Jung),최청락(Choi, Cheong-Rak) 한국체육과학회 2019 한국체육과학회지 Vol.28 No.4

The purpose of this study is to bring light on the causality between the perception of the Korean culture and the Korean dance. The research subjects are the students of colleges in Seoul and the Chungcheong provinces. I distributed about 250 copies of our questionnaire and collected 221 copies. And the collected data has been put to frequency analysis, using SPSSWiN Ver. 25.0. Data were analyzed by frequency analysis, exploratory factor analysis, correlation analysis, reliability test, regression analysis, and t-test. I have come up with the following results. First, the perception of the Korean culture, the knowledge in Korean dance, and the Korean dance information needs showed causal relations. Second, the knowledge in Korean dance and the Korean dance information needs showed causal relation. Third, the knowledge in Korean dance, and the Korean dance information needs, and recommendation intention showed causal relations. Fourth, the perception of the Korean culture, the knowledge in Korean dance, and the Korean dance information needs showed causal relations, and recommendation intention showed significant differences depending on the experience in viewing the Korean dance.

한국사회 변동과 현대무용의 전개 양상

박은정,민현주 한국체육철학회 2009 움직임의철학 : 한국체육철학회지 Vol.17 No.4

This paper aims at diagnosing the transformation aspects of dance art according to the society change by analysing the influence on modern dance by Korean society change. The influence of Korean society change on modern dance was derived from the literature analysis related with modern dance development aspects in terms of private aspects to analyse the development aspects of modern dance. The results of study are as follows. First, Americanized modern dance was the main stream in the 1970s Korean society because the society accepted American culture among developed countries, and as a result, Korean modern dance became to have the tendency of Martha Graham's modern dance who was standing in the center of American modern dance at that time. Second, Korean society in the 1980s activated Korean modern dance under the motto of 'the good things about Korea can also be good things for the world'. Moreover Korean modern dance which could expose Korean characteristics was created with a link of international events, 1986 Asian Games, and 1988 Seoul Olympic Games. Third, Korean society in the 1990s changed modern dance by opening the door and trying new approaches about culture. The modern dance society realized the necessity of seeking a new creative direction through appointing year 1992 as 'the Year of Dance' and performance of Europe's renowned dance troupe in Korea. Society and dance art have a deep relationship through this results and the tendency of a society always forms vital guides in establishing new direction of dance creation. Therefore, dance art could be set as the art which communicates in the society through groping new creative direction corresponding to the history flow. 본 연구는 한국에서 사회 변동이 현대무용에 미친 영향의 분석을 통하여 사회 변동과 무용예술의 관계를 통찰하고자 하였다. 따라서 본 연구에서 현대무용이 탄생된 사회적 배경, 현대무용의 탄생, 한국 현대무용의 수용과 전개 양상을 살펴보았다. 본 연구는 내용 범위를 현대무용에 제한하였으며, 또한 시간 범위를 한국 현대무용이 활성화되어지기 시작한 1970년대에서 1990년대로 제한하였다. 연구 결과는 다음과 같다. 첫째, 1970년대 유신체제와 경제성장, 교육환경의 변화로 대학의 무용학과가 개설되어 현대무용 교육이 본격화되었다. 미국식 현대무용의 경향성을 갖게 되었다. 둘째, 1980년대 신군부에 의한 ‘한국적인 것이 세계적인 것’이라는 문화 예술의 흐름과 ’86 아시안게임, ’88 서울올림픽과 같은 국제적인 행사의 개최 속에서 한국성을 강조하는 창작 경향이 나타냈으며, 세계무대에 진출하는 계기를 마련하였다. 셋째, 1990년대 한국사회의 개방화, 국제화 흐름에 따라 유럽식의 탄츠테아터를 적극 수용하고 한국적으로 변형시키는 창작 경향성이 활기를 띠게 되었다. 결국, 무용예술은 사회의 변화 안에서 함께 호흡하고 새롭게 형성되며, 시대적인 흐름에 부합할 수 있는 창작 방향이 모색될 때 사회적인 소통을 확장하는 예술로서 자리매김할 수 있음을 확인하였다.

한국 춤의 핵심 구조로 읽는 차이들 -궁체, 필체, 학체 사위를 중심으로

김지원 ( Ji Won Kim ) 한국기호학회 2014 기호학연구 Vol.39 No.-

본 연구는 한국춤의 핵심구조인 궁체(弓體), 학체(鶴體), 필체(筆體) 사위가 한국문화의 근간이 되는 철학적 사유임을 근거로 한국인이 지향하는 독특한 문화적 세계관을 엿보는데 목적을 두었다. 한국춤의 궁체와 필체 사위는 자연을 모방하고 그리는 작위(作爲)된 형태가 아닌 소박한 아름다움을 드러낸다. 곡선의 여유로움과 필체에서의 ‘삭임’이라는 침묵의 기능은 춤의 여백을 통해 내면을 승화하게 만든다. 넘치지 않도록 절제하는 움직임과 생동감 넘치는 힘의 기교는 조화로운 융화로 내면을 풀어나가는 우리 민족의 원초적인 감성이 배어있다. 학체 또한 한국춤의 독창적인 상징의미를 드러냈다. 학을 숭상하는 민족정서가 모든 한국춤의 표상으로 자리한다. 이러한 근원은 한국인의 순수한 자연친화적인 지향성을 암시한다. 절대적인 진보의 나아감으로 끊임없는 도전을 행하지 않고, 머문 뒤에는 제자리에 다시 돌아오는 현세 지향적인 삶의 방식이 그것이다. 한국춤에서 드러난 핵심적 세 가지 구조는 한국예술의 정수이자 한국예술만의 내재적 구조로, 이는 정한론을 비롯해 신명, 아우름 등 한국인의 사유구조와 사상적 철학까지 한국예술의 근간임을 확인 할 수 있는 연구였다. The objective of this study is to observe the unique cultural worldviews pursued by Koreans, based on the fact that Gungchae, Hakchae, and Pilchae dance moves, the core structures of Korean Dance, form the philosophical basis of Korean culture. In other words, Gungchae demonstrates that it is the common denominator of Korean arts, which is based on the gentle curves and soft and simple aesthetic sense of the world view of Koreans pursuing the circle. Pilchae expresses, through the structure of Korean Dance movements, the artistic spirit concentrating on the Eastern views emphasizing courtesy and cultivation of the mind and body. The forging, soothing, and relaxing breathing of Pilchae is an important core in the conclusion of the movements and artistic grace of Korean Dance and therefore, Pilchae confirms that the silent ambiguous and unraveling grace of Korean Dance places emphasis on the beauty of motion amidst rest. Hakchae, which can be observed in almost all Korean Dances, is a core dance structure that includes animalistic dance movements to imitate the crane or resemble the image of the crane to reflect the essence and artistic spirit of the Korean culture through the creative aesthetic sense of Korean Dance. This study identifies the three core structures of Korean Dance as the essences and the immanent structures of Korean arts and shows the Korean structure of thought of light-heartedness and harmony, including Seikanron, and Korean ideological philosophy to be the basis of Korean arts.

The Korean Dance Education for "Chum-Saeng-Chum-Sa"

( Kyung Hee Ko ),( Yun Hee Han ) 한국체육학회 2015 국제스포츠과학 학술대회 Vol.2015 No.1

Purpose: The dance is a spontaneous creature of human, and also reveals a primitive instinct of people. In fact, the Korean dance was one of that kind activity in which the people got together to move and twist their bodies naturallu as their minds wanted. But, in today, the Korean dance has became too formal one, and finally uncomfortable and artifical one. The purpose of this study is to review the current problem of the Korean dance separated from the public, and find a way how to make every people enjoy and play the Korean dance taking off the thick dissimulation of art. Method: Korean teenagers do not know what the real Korean dance is, but, instead, they think that the dancing or movement along with the K-Pop is the K-Dance. So, there is only a brand new K-dance, but not the traditioanl Korean dance in their minds. This might not be the problem of the dance education of school, but the contradiction of the current integrated art education program which emphasize the importance of creativity. That school program must be designed to integrate both the creative motion education and the traditional dance education. This can help the students to understand those both sides of creativity and tradition, so that they can try modifying and developing movement by themselves via understanding their bodies. The creativity of human is also from imitation, and there is no standalone creature. The school dance education program has to provide the opportunities experiencing the natioanl tradition and culture. Conclusion: Korean teenagers` bodies do not understand the traditional Korean dance movement, because the previous Korea education system has not paid much attention to the history and culture education. But, it is natural to rememeber that the ancient Korean really enjoyed the dance altogether whenever a festival was held, i.e., "Chum-Saeng-Chum-Sa" people. So it is very high time to understand the importance on the creativity education and the traditional movement training in school dance program. Today, the K-Pop and K-Dance move the world than any before in the Korea history. This would be the natual result of Korean`s natural and traditioanl characteristic, i.e., "Chum-Saeng-Chum-Sa." So the researchers would like to suggest strengthening the Korean traditioanl dance education as well as K-dance.

신(新)한류 지속발전을 위한 유튜브(Youtube) 한국 전통무용 콘텐츠 조사

정서윤 ( Jung Seo-youn ),안병주 ( An Byong-ju ) 한국무용예술학회 2014 무용예술학연구 Vol.46 No.1

The purpose of this study was to examine the state of Korean traditional dance contents on YouTube, which is regarded as the driving force of the new Korean wave led by K-pop, in an effort to determine what media strategies were used on YouTube to step up the advance of Korean traditional dance onto the global stage. 359 video clips were selected from YouTube by inputting the keyword “Korean traditional dance.” The selected video clips were analyzed in terms of year, number of hits, poster, content and form. The findings of the study were as follows: First, the Korean traditional dance contents were analyzed by year. As a result, there was a tendency that the number of the video clips started to be on the rise in and after 2010. But the number of the video clips posted in 2013 was lower than that of the previous year, which implied that YouTube wasn’t utilized a lot to accelerate the expansion of the Korean wave led by K-pop into Korean traditional culture. Second, the number of hits for the Korean traditional dance contents was analyzed, and the most common number of hits ranged from 1,000 to less than 10,000. Six video clips had more than 100,000 hits. So it could be said that the number of hits for the Korean traditional dance contents was low. As a result of analyzing the video clips with 10,000 hits or more by year, the number of hits increased year after year, but it seemed to be a natural phenomenon that was attributed to the lapse of time. Overall, the number of hits for the Korean traditional dance contents was low in comparison with that for K-pop contents. Third, who posted up the Korean traditional dance contents was analyzed to see whether there was any formal route for that. And it’s found that a private Korean dance group which was based in Toronto, Canada, posted up the largest number of contents, followed by individuals who continued to post up the video clips as a sort of donation. In other words, the Korean traditional dance contents were released by quite a small number of individuals and private groups through YouTube. Fourth, a content analysis was made to check the content of the Korean traditional dance contents. As a result, the Korean traditional dance contents were classified into 31 categories of content and others. Among various kinds of Korean dance, Korean fan dance was most dominant in the contents, which 80 video clips dealt with. Out of the 359 video clips, the video clips that showed Korean fan dance had the largest number of hits as well. Thus, the posting frequency was identified as one of factors to affect the number of hits. Fifth, in order to grasp the form of the Korean traditional dance contents, their format of content, length of playback, number of participants and picture quality were analyzed. As a result, the greatest number(306) of the 359 video clips were in the form of performance and presentation, and the length of playback was mostly less than seven minutes. 78 percent of the video clips were group dance, and their picture quality was good. In fact, however, the high-definition K-pop contents released by entertainment management companies for strategic purposes usually excel video clips posted up by people in general in terms of picture quality. Given this fact, the picture quality of the Korean traditional dance contents could be said to be lower.

춤을 통해본 한국적 움직임커뮤니케이션의 특성

김말복 한국무용예술학회 2006 무용예술학연구 Vol.18 No.-

The Characteristics of Korean Movement Communication Evident in Traditional Korean DanceMal Borg Kim, Ph. D.Professor of DanceEwha Womans UniversityThis paper aims to study the characteristics of Korean movement communication found in traditional korean dance. It also forms a part of the program to study the communication phenomena in the everyday life of korean society. For this purpose, the korean thought of communication is examined in comparison with the western ideas of communication. Also the structure and the methodological characteristics of korean nonverbal communication is surveyed in contrast with the western style. And traditional korean dance is looked into to find out that the characteristics of korean culture and the confucian ideolology of communication is reflected in the motions and the movement communication of traditional korean dance.The symbolic characteristics of basic movement manner in traditional korean dance is explained as ?guyong (nine attitudes)? which was the ideal movement manners for the confucian scholar in the chosun era. And it is proved that the communication of korean dance is reciprocal in nature. In traditional korean society, dance functions as the center where the audience and the dancer meets at the intersection and find the consensus of mind through dance.In 1960s, korean people discovered ?technology, idea and desire? as the medium to seek the materialistic value. These three concepts also come in the spotlight of dance stage as the central values. The ?new dance? of the 1960s take a serious view of creativity, expression and technique and worked on the context of western thought of communication. The trend of new dance of 1960s was the pursuit of objectivity and clarity of message which is the basic principle of western communication thought.

일반논문 : 북한춤의 해외전파: 일본과 중국을 중심으로

김채원 ( Chae Won Kim ) 한국공연문화학회(구 한국고전희곡학회) 2011 공연문화연구 Vol.0 No.22

본 연구는 해외교포사회에 북한춤이 전파되는 과정과 그 발전양상을 살펴보는데 목적을 둔 것으로, 해외에 거주하는 민족집단으로서의 재외동포들의 무용문화, 특히 재중, 재일조선인들의 무용문화에 대한 관심과 연구의 필요성을 생각해보았다. 문헌연구 중심으로 살펴본 논점의 결과, 재일조선인사회와 중국조선족자치구의 무용문화의 출발점엔 공통적으로 최승희춤이 있었으며, 두 민족집단은 최승희로부터 직접·간접적으로 춤을 배우거나 작품을 전수받았으며, 최승희가 정리한 조선무용기본을 기초훈련으로 하여 무용을 습득했다. 또한 무용전수 및 훈련기관은 재일조선인사회의 경우 북한의 체계와 같이 무용소조를 따로 두고 그곳에서 무용훈련을 통해 재능있는 인재를 배출하여, 전문예술단에서 활동하게 하는 시스템을 유지해 왔다. 이에 반해 중국조선족자치구는 연변대학과 중앙민족대학내에 무용학과가 배치되어 있어 그곳에서 조선춤을 전수 교육함으로써 재능있는 무용인재들을 배출해 왔으며, 한국의 무용교육체계와 유사한 면을 볼 수 있다. 무용기초훈련과 작품의 경향면에서는 재일조선인사회에서는 북한에서 실천하고 있는 무용기초훈련과 기본훈련을 그대로 전수하고 있으며, 작품도 북한춤을 대표하는 명무나 민속무용을 그대로 전수받아 공연하고 있다. 그러나 중국조선족자치구에서는 최승희가 정리한 조선무용의 기초와 작품을 그녀로부터 직접 훈련받거나 전수받았으나, 최승희의 제자들은 그녀가 세운 무용기초를 발전시켜 중국소수민족의 춤기법 등을 접수하면서 중국조선족만의 무용훈련체계를 세워나가면서 한국춤과의 교류도 성사시켜 북한춤보다는 자유롭게 창작성을 가미한 중국조선족 무용문화를 형성하게 되었다. 전수된 시기로 보면, 재일조선인사회는 1960년대부터 시작되어 1970년대에 들어서는 직접적인 평양방문을 통해 전수와 교육을 받았고, 1990년대에는 북한무용가를 직접 일본으로 초청하여 무용기초훈련을 교육받음으로써 북한춤에서 볼 수 있는 스펙터클한 양상을 그대로 재현하고 있다하겠으나, 중국조선족자치구에서는 1950년대에 평양과 북경에서 최승희로부터 직접적인 지도를 받았고, 이후에는 북한무용가들로부터의 직접적인 지도보다는 북한예술단의 중국방문을 계기로 무용영향을 받는 한편, 1990년대 이후부터는 한국춤을 흡수하기 시작하면서 중국조선족만의 색다른 무용문화를 창조해 왔다. 같은 민족이면서도 살아가는 지역과 그 지역을 구성하는 민족집단의 구성체계 및 정치체제에 따라 북한춤의 전수과정 및 발전양상도 유사하지만 각각의 아이덴티티를 보장하는 독자적인 특색을 지닌 무용문화를 형성하며 발전시켜 왔음을 알 수 있으며, 재일조선인사회의 무용문화는 조총련의 통제하 강제적 문화접변에 의한 무용문화의 변동을, 중국조선족자치구의 무용문화는 자발적 문화접변에 의한 자유로운 차용과 발전으로의 변동을 살필 수 있었다. 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.

무용의 전지구화 과정에 대한 탐색 -한국무용을 중심으로-

김경은 ( Kyung Eun Kim ) 대한무용학회 2011 대한무용학회논문집 Vol.69 No.-

Since the turn of 21st century, the term "globalization" is utilized and has become a global trend that is witnessed in many different fields such as politics, economics, society, and culture and art. As the global reputation if Korean culture and art is well recognized, it is essential to understand the globalization of Korean Dance. The dance largely consists of three types - Korean Traditional Dance, New Dance(Shinmuyong) and Korean Creative Dance. This research, based on the history of Korean Dance, studied the procedure of globalization and glocalization of Korean Dance. Particular research question were (1) how did globalization of Korean Dance develop, (2) how can we understand the aspects of globalization of Korean Dance in global and glocal perspectives. Data was gathered through in-depth literature review and documentation. The result of the data analysis is as follows. First, the globalization of Korean Dance slowly started during early 1900s with the inflow of Western Dance into Korea. As the inflow accelerated, by Ishii Baku in 1926, the term "glocalization" was evident with Korean Dance combined with the western to create a new form of dance. In the mid 1970s, with the creation of "Korean Creative Dance", the second wave of glocalization was evident. Second, the aspects of globalization can be understood in the form of Korean Creative Dance`s glocalization and diffusing Korean Traditional Dance, New Dance and Korean Creative Dance through globalization. The process of globalization will only be strengthened through glocal and global terms. Although globalization might play an important role in fostering Koreand Dance, we must not forget our culural identity and the superiority of our spirit and motion.