조선시대 무동과 악공의 재조명

김종수 국립국악원 2019 국악원논문집 Vol.39 No.-

The Joseon-era boy dancer system was initiated when sixty 10-year-old or so males were selected in 1432 to be taught how to dance and sing. They then performed royal dance/music for the narrative songs Oyangseon, Abak, Mugo, and Monggeumcheok at the January royal feast in 1433. The boy dancer system aimed to replace female dancers; an age limit of 15 (when children typically take on adult characteristics) was set for the boy dancers. Thus, their activities were limited to the early teens, making it very difficult to sustain the boy dancer system because early-teen boy dancers, even if talented, soon became adults so new candidates had to regularly be recruited and educated. In a 2000 study, Lee Yun-jeong analyzed rite records of royal feasts. She reported that in both the first and second halves of the Joseon era, adult boy dancers transferred to the role of musician. However, only during the later period, musicians transferred to the role of boy dancer, or play the role of both boy dancers and musicians. This conclusion has been quoted in other researchers’ books and papers. Lee Yun-jeong, however, overlooked the fact that Cheoyongmu (a type of masked dance) and the conveyance of relative dance equipment were performed by musicians. Specifically, Cheoyongmu performers included the dancers as well as the carriers of the Pogumun (a door with a hole into which a ball is thrown while dancing), all comprised of a group of boy dancers. Thus, it can be claimed that Lee drew erroneous conclusions in her research. This study newly analyzed the rite records of the royal feasts of the Joseon era and the Korea Empire. It determined that in the second half of Joseon era, like the first half, boy dancers, when becoming adults, were generally incorporated into the group of musicians if talented, and otherwise were returned to their original role. Quite a number of musicians were selected as boy dancers because it was difficult to fill the required quota of short-lived boy dancers, so boy dancers were selected out of young musicians. They, of course, acted as boy dancers for only one to two years, after which they returned to their original job of musicians. Compared to boy dancers' maximum activity period of five years, musicians could serve up to 50-60 years in areas including royal court music (Jeonak 典樂). Further, Joseon musicians performed not only music but also dancing. All sacrificial rites-related dances were exclusively performed by musicians. During the period when the system of using boy dancers in external (royal) feasts was implemented, musicians, not boy dancers, performed magnificent dances celebrating civil virtues and military achievements, regardless of traditional royal music and popular music. Mask dances such as Cheoyongmu were performed by musicians not by childlike-looking dancers. 조선시대 무동 제도는 1432년(세종 14)에 10세 전후의 남자아이 60명을 선발하여 춤과 노래를 가르쳐, 1433년(세종 15) 정월 회례연에서 <오양선>․<아박>․<무고>․<몽금척> 정재를 연행하게 한 것이 시발점이다. 무동제도는 여악을 대체하기 위한 것이므로, 성인 남자의 골격이 나타나기 시작하는 15세가 한계점이었다. 즉, 활동 연한이 10대 초반으로 한정된다는 것이 무동제도의 큰 어려움이었다. 10세전후의 아이가 재주를 이루어 쓸 만하면 곧 성년이 되어 새로 아이를 선발하여 다시 교육시켜야하기 때문이다. 2000년에 이윤정이 연향 관련 의궤를 분석하여, ‘조선후기는 전기처럼 성년이 된 무동을 악공으로 이속시키기도 했지만, 전기와 달리 악공으로 먼저 활동하다가 후에 무동으로 활동하기도 하고, 무동과 악공의 역할을 겸하기도 했는데, 무동과 악공의 역할을 겸한 경우가 제일 많다’라는 결론을 도출했고, 이 결론은 다른 연구자들의 저서나 논문에 인용되었다. 그러나 이윤정은 가면을 쓰고 추는 <처용무>와 무구(舞具) 운반은 악공 소관임을 간과하여, <처용무> 연행자와 포구문과 무고 운반자까지도 무동으로 편입시켜 분석하는 실수를 범했으므로, 그로부터 도출된 결론은 재검토가 필요하다. 따라서 조선시대 및 대한제국 시기의 연향 관련 의궤를 새로 분석하였다. 그 결과 무동으로 활동하다가 악공으로 이속된 자로 강창성․김호풍․이득순․이만수․이업룡․이흥문․차홍신․황용운․이용진․함순길 등 10명, 악공에서 무동으로 차출되어 활동한 자로는 김형식․박경복․박호길․서용범․이명길․이수동․이용식 등 7명으로 나타났다. 즉, 조선후기도 전기와 마찬가지로 ‘무동이 성년이 되면, 재주 있는 자는 악공으로 이속시키고 그렇지 못한 자는 본역(本役)으로 돌려보내는 것’이 일반적이었다. 악공에서 무동으로 차출되어 활동한 자의 수도 꽤 되는데, 그 이유는 활동기간이 짧은 무동은 태생적으로 정원을 채우는 것이 힘들었으므로, 때로는 나이 어린 악공 중에서 무동으로 차출하여 썼기 때문이다. 물론 이들은 1~2년 무동 역할을 하다가 다시 본업인 악공으로 돌아갔다. 무동의 활동기간이 대략 5년 전후인 것에 비해, 악공은 전악(典樂)에 이르기까지 많게는 50~60년이 걸릴 정도로 복무기간이 길기 때문이다. 한편, 조선시대 악공의 활동으로는 음악연주 외에 춤도 있었다. 우선 풍운뇌우․사직․문묘․선농․선잠 및 종묘·경모궁·둑제 등 모든 제례의 춤은 악공의 고유 영역이었다. 연향에서도 ‘외연에 무동을 쓰는 제도’가 시행되는 기간에 외연에서는 아악이나 속악 구분 없이 문덕과 무공을 형상한 장중한 춤은 앳된 모습의 무동이 아니라 악공이 추었고, <처용무>처럼 탈을 쓰고 추는 춤 또한 앳된 모습이 요구되지 않으므로 악공이 담당했다.

여자무용수의 전공별 신체적 특성, 신체조성, 심폐체력, 근력, 요추 골밀도 및 혈중 지질

우혜영 ( Hye Young Woo ),변재철 ( Jae Chul Byun ) 大韓舞踊學會 2009 대한무용학회논문집 Vol.59 No.-

The purpose of this study was to providing a profile of physical characteristics, body compositions, cardiopulmonary fitness, muscle strength, bone mineral density (BMD) and blood lipids on women dancer`s style. We selected eleven university students who major in Korean dancers, 12 Modern dancers and 12 Ballet dancers. A series of comparative students of three dance groups were made through the body composition test, cardiopulmonary fitness, isokinetic knee muscle strength test, lumbar bone mineral density and blood lipids accumulations. Results of this study, foot size of Ballet dancers was small than Korean and Modern dancers on characteristics of physical morphology, and Ballet dancers was lower on percent of body fat than Korean and Modern dancers. There was a significant differences on brachioradialis, brachialis, waist, and hip circumference between the dancer`s style. Maximum oxygen uptake (VO2max) of Modern and Ballet dancers higher than Korean dancers. There was a significant differences on knee extension and flexion muscle strength at 60°/sec between the dancer`s style. Knee flexor and extensor muscle strength of Modern and Ballet dancers higher than Korean dancers. Knee extension and flexion muscle strength of Modern dancers higher than Korean and Ballet dancers at 180°/sec and 240°/sec. And BMD of lumbar 2 (L2) of Ballet dancers was higher than Korean dancers. BMD of lumbar 3 (L3) and lumbar 4 (L4) of Modern and Ballet dancers was higher than Korean dancers. Futhermore, there was a no significant differences on blood TC, HDL-C, LDL-C levels between the groups, but blood TG level of Ballet dancers was lower than Korean dancers.

무용수의 멘토관계 구조 분석

유진 ( Jin Yoo ),차은주 ( Eun Joo Cha ) 大韓舞踊學會 2009 대한무용학회논문집 Vol.60 No.-

The objectives of the current study is to understand various aspects of mentoring among dancers(highschool, college, and professional dancers) and their structural relationship with the satisfaction of mentoring. This study collected the data from 324 participants using a questionnaire. The data were analyzed with SPSS 15.0 for WINDOWS. The statistical analyses included frequency analysis, reliability, cross tab, and ANOVA. The results are as below. First, the study indicated that the dancers have maintained a long term relationship with their mentors. The average number of mentors of the dancers was 5.36. For high school dancers, 30.6% had more than 6 mentors. The participants indicated that their mentor was mostly their teacher/coach. They usually have one to two personal contacts with their mentors per week. The age discrepancy between the mentors and mentees was 14 years in average. The average mentoring period was six years and eight months in average. The roles of mentors, in the order of importance, were dancing practice and psychological support. The results also found that the mentors of the participants had significant influence on the performance of the dancers. Second, the dancers indicated that the most important things in the mentoring was (1) mentors` understanding the dancers (mentees), and (2) maintaining a positive relationship. Collegiate dancers perceived mentors` advice and counseling to be the most important. Professional dancers expressed their wish that their mentors had a successful professional career and expressed their gratitude toward their mentors. Highschool dancers wanted to have dance lessons from their mentors. Third, The dancers had more satisfaction as they had more numbers of mentors. The satisfaction level was the highest when the mentors provided mentees with economic supports. The satisfaction level of highschool dancers was statistically higher than that of collegiate and professional dancers. In conclusion, dancers were more satisfied with mentoring when they had more numbers of mentors and when they maintained a longer period of mentoring relationship.

전문무용수의 다차원적 완벽주의와 섭식장애의 관계

김태경 한국무용과학회 2018 한국무용과학회지 Vol.35 No.1

The main purpose of this study was to examine both the main effects and interaction effects of professional dancers' perfectionism on eating disorders and injury experiences from a multidimensional perfectionism perspective (Hewitt & Flett, 1991). For this, 429 professional dancers (110 male dancers, 319 female dancers) completed a set of questionnaires including multidimensional perfectionism, eating disorder behaviors, and injury experience inventory in dance setting. Data were analyzed using descriptive statistics, correlation, and hierarchical regression analysis. The results of this study were as follows: First, dancers with high self-oriented perfectionism aged 20 were high in injury experiences having no relation to the level of socially-prescribed perfectionism, but dancers with high socially-prescribed perfectionism was high in injury experiences when they perceived other-oriented perfectionism high. Second, professional dancers' perfectionism had different influences on diet and restrained eating behavior among eating disorder behaviors with their dance genre. Korean traditional dancers' diet were positively predicted by both socially-prescribed perfectionism and self-oriented perfectionism, and their restrained eating behavior predicted by both other-oriented perfectionism and socially-prescribed perfectionism. But there was no significant interaction between them. Multidimensional perfectionism had no direct impact on ballet dancers' binge eating behavior, but socially-prescribed perfectionism was a predictor of their restrained eating behavior. These results suggest that professional dancers are inclined to get a lot of social and cultural pressure in performing a perfect skill and being thin as a dancer having no relation to their weight. Professional dancers require knowing self-management strategies for effective diet and healthy eating. 본 연구의 목적은 다차원적 완벽주의 관점(Hewitt & Flett, 1991)에서 국내 전문무용수들의 다차원적 완벽주의 성향이 섭식장애에 미치는 상호작용 효과를 검증하는데 두었다. 429명의 전문무용수(남자무용수 110명, 여자무용수 319명)를 대상으로 위계적 회귀분석을 실시한 결과는 다음과 같다. 첫째, 20대의 전문무용수의 경우 자기지향적 완벽주의 성향은 절식행동에 영향을 주고 사회적 부과된 완벽주의와 타인지향적 완벽주의 성향은 섭식통제행동에 직접 영향을 주지만, 이들 다차원적 완벽주의 성향이 상호작용하여 섭식장애에 영향을 주지 않는다. 30대 이상의 전문무용수들에게는 사회적으로 부과된 완벽주의가 절식 행동을 정적으로 예측하고 타인지향적 완벽주의는 섭식통제행동을 정적으로 예측하지만, 다차원적 완벽주의 하위요인간의 상호작용 효과는 유의하지 않다. 둘째, 발레무용수들의 세 가지 완벽주의 성향은 절식행동에 영향을 주지 않지만, 사회적으로 부과된 완벽주의는 섭식통제행동에 정적인 영향을 주었다. 그러나 발레무용수들의 섭식장애에 대한 세 가지 완벽주의 성향간의 상호작용 효과는 없었다. 한국무용수들의 경우도 사회적으로 부과된 완벽주의와 자기지향적 완벽주의 성향이 이들의 절식행동과 섭식통제행동을 예측하였지만 둘 다 유의한 상호작용 효과는 없었다. 본 결과는 국내 전문 여자무용수들이 체중과 상관없이 날씬해야 하고 무용수로서 완벽한 기량을 발휘해야 한다는 사회 문화적 압박을 크게 받는다는 점에서, 효과적인 다이어트와 건강한 섭식행동이 전문무용수들에게 요구된다.

남성 직업무용수의 성역할 정체성 갈등과 적응

김재은(Kim, Jae-Eun),박인실(Park, In-Sil) 한국체육과학회 2014 한국체육과학회지 Vol.23 No.5

The study aims to understand the gender role conflict that male professional dancers experience, the way they resolve the conflict, and the nature of the gender role identity that is needed for male professional dancers. In order to accomplish the research objectives, qualitative case study method was used for a total of 9 male professional dancers in professional dance companies, and the following results were obtained. First, male professional dancers were having difficulty in establishing the gender role identity of the male professional dancer due to family’s objection to being a dancer, friends’ disrespect and tease about losing the masculine gender role, fellow female professional dancers’ disrespect, and the media that distorts gender role identity of the male professional dancer. Second, male professional dancers came to question their gender role identity as they found their idea on men changing and their thinking and behavior having resembled women’s since they began dancing. Third, the male professional dancers who struggled with establishing gender role identity formed positive relationships with their fellow female professional dancers by accepting the feminine gender role identity which they utilized as the medium to expend their artistic expressions in various ways. On the other hand, the male professional dancers who refused the feminine gender identity experienced the fear of internalizing the feminine gender role and great deal of internal conflict due to rigid gender role identity of the society.

현대 부산지역 남성무용가의 사적 연구

김완수 영남춤학회 2024 영남춤학회誌 Vol.12 No.1

이 연구는 부산지역에서 1954년부터 1980년까지 무대예술을 중점적으로 활동하였던 남성 무용가들의 활동 양상을 고찰하고 그들의 활동상을 통해 부산무용사적 의의을 도출하고자 한 논문이다. 연구방법으로는 질적 연구방법으로써 부산지역 남성무용가들의 공연·사회·교육적 활동에 대한 문헌 자료를 활용하였다. 뿐만 아니라 동료무용가와 제자들의 직접면담을 통해 그들의 활동에 대한 증언을 확보하였다. 그 결과로 그들의 활동상에서 나타나는 부산 무용사적 의의를 도출해낼 수 있었다. 첫째, 부산지역 남성무용가들은 왕성한 창작 활동을 통해서 부산무용계의 창작춤 활성화에 기여하였다는 점이다. 둘째, 그들은 춤 교육에 전념하여 우수한 제자들을 배출하였고 향후 한국무용계를 주도하는 주역을 배출하여 부산지역 무용계의 위상을 드높였다. 셋째, 그들은 부산무용계의 대들보 역할을 하며 구심점을 잡아서 부산지역 무용가들의 결속과 단합을 이루었다. 마지막으로 부산지역 남성무용가들의 활동은 후대의 남성무용가들에게 귀감이 되기 충분하였다. 그래서 그들이 남긴 예술 활동의 흔적들은 부산지역뿐만 아니라 춤을 전공하는 모든 남성 무용가들이 나가야 할 지표로 삼아도 부족함이 없을 것이라 확신한다. This study examines the activity patterns of male dancers who were active in the stage arts from 1954 to 1980 in the Busan region and attempts to derive significance from the history of Busan dance through their activities. A qualitative research method was used to utilize literature data regarding the performances, social, and educational activities of male dancers from the Busan region. In addition, testimony regarding their activities were obtained through direct interviews with fellow dancers and students. As a result of conducting research based on these data, it was found that many male dancers gathered in the Busan area due to the Korean War. They engaged in performance arts activities while forming a culture of dance. Despite the difficulties of the time immediately following the Korean War, much emphasis was placed on creative activities due to the influx of new culture. They also excelled in dance education, and most of them had a passion for nurturing disciples, which included running dance research institutes. They also produced leading figures in the Korean dance scene, elevating the status of the dance community from the Busan area. Thirdly, they played a leading role in the Busan dance community, serving as a focal point and fostering unity among dancers in the Busan area. Lastly, the activities of the male dancers in the Busan area have been influential enough to serve as a model for future male dancers. These traces of their artistic activities will undoubtedly serve as a sufficient benchmark for not only the Busan area but for all male dancers specializing in dance.

대학무용수들의 신체적 자기지각이 자기인식에 미치는 영향

고낙원(Ko Rack-Won),전준석(Jeon Joon-Seok) 한국체육과학회 2006 한국체육과학회지 Vol.15 No.4

The purpose of this study was to analyze physical self-perception, and self-esteem in college dancers. 432 female college dancers majoring in Ballet, Modem, and Korean dance complete the Physical Self-Perception Profile(PSPP), and the Self-Esteem Inventory. The results of one-way ANDVAs indicated that Korean dancers exhibited more higher dance perceived competence, self-worth, self-esteem than Ballet dancers. The results correlation analysis indicated that self esteem showed significantly correlation self-worth. The result regression analysis indicated that the Ballet dancers influenced body attractiveness and physical self-worth in PSPP. The PSPP subfactors significantly influenced physical self-worth in Modern dancers. The PSPP subfactors significantly influenced body attractiveness, strength, and physical self-worth in Korean dancers. The result regression analysis indicated that the Ballet dancers and Modem dancers influenced physical self-worth in PSPP. The PSPP subfactors significantly influenced physical condition, strength, and physical self-worth in Korean dancers.

무용예술에서의 페미니즘

하혜석,한아람 한국체육철학회 2018 움직임의철학 : 한국체육철학회지 Vol.26 No.1

Under the circumstances of implicit sexual discrimination many women have joined the feminist movement to seek their justified rights. While there are different approaches to the history of feminism, feminism is usually classified as ‘liberal feminism,’ which is centered on Europe and the United States during the late 19th to the early 20th century, and ‘radical feminism,’ which is centered mainly on the United States during the 1960s. During its progression, cultural feminism in relation with the art of dance and post-modern feminism came into being. Cultural feminism applied to the art of dance altered the sexual stereotype images reflected on female dancers. During this process, male chauvinism in the male-dominated western dance culture has been torn down. On top of that, representative female modern dancers in the early 20thcentury, such as Isadora Duncan, Loie Fuller, Mary Wigman, and Martha Graham, suggested that dance is for women only. They stressed that female dancers should lead more active and aggressive lives, which eventually led to greater rights and benefits for female dancers. In the Korean scene of the art of dance, various dance performances, which reflect feministic views, have been created and performed on stages. Consequently, the social status of female dancers has greatly improved compared to the past. However, a lot of dance performances are still projecting the image that male dancers are the “lead” and female dancers the “followers.” Moreover, female dancers are under intolerable pressure in taking good care of their appearance, compared to their male counterparts. This study suggests that female dancers’ utmost efforts are greatly needed to improve the current situation in the field, and they are urged to raise awareness of feminism by seriously contemplating the meaning and value of feminism. Female dancers are also strongly advised to strive in taking leading roles as central figures by enhancing their professional capabilities as dancers. 암묵적으로 행해진 성차별에 대해 여성들은 그들의 권리를 찾고자 하는 움직임이 있었고 이러한 움직임은 일반적으로 여권주의라 알려져 있는 페미니즘 운동이라 볼 수 있다. 페미니즘의 역사에 대한 접근은 학자마다 다양하나 통상적으로 볼 때 19세기 말부터 20세기 초까지 유럽과 미국을 중심으로 진행된 자유주의 페미니즘과 1960년대 미국을 중심으로 진행된 급진주의 페미니즘으로 분류된다. 그리고 페미니즘이 진행되는 과정 속에서 무용예술과 관련된 문화적 페미니즘 및 포스트모던 페미니즘 시각도 발생하였다. 무용예술에 페미니즘이 적용됨으로써 오랫동안 남성 위주의 문화가 이루어져 왔던 서양무용에서는 여성 무용수에 대한 성적 이미지가 파괴되고, 남성 우월주의가 해체되었다. 또 무엇보다 20세기 초 현대무용을 대표하는 이사도라 던컨, 로이 풀러, 마리 뷔그만, 마샤 그라함 등이 여성만을 무용을 제시하고, 여성 무용수들에게 적극적이고 능동적인 삶을 살 것을 강조하면서 여성 무용수의 권익을 향상시킬 수 있었다. 우리나라 무용예술 분야에도 페미니즘의 흐름이 영향을 미쳐 페미니즘이 반영된 작품이 제작 및 공연되고 있고, 여성 무용수의 지위도 과거에 비해서는 크게 향상되고 있다. 그럼에도 아직까지 많은 작품에서 남성 무용수는 ‘리드’, 여성 무용수는 ‘팔로우’라는 이미지가 반영되고 있고, 남성 무용수에 비해 여성 무용수에게는 혹독한 외모 관리가 강요되고 있다. 무용예술계의 상황을 개선하기 위해서는 무엇보다 여성 무용수들의 노력이 필요하다고 볼 것이므로, 여성 무용수들은 스스로 페미니즘의 의미와 가치를 고찰하여 페미니즘에 대한 인식수준을 향상시키고, 무용가로서 갖추어야 할 전문성을 향상시킴으로써 작품 속에서 중심인물이 될 수 있도록 해야 할 것이다.

인문,사회과학편 : 무용수의 외모에 대한 사회문화적 가치내재화가 대상화된 신체의식, 사회적 체형불안 및 섭식장애정도에 미치는 영향

이진희(JinHeeLee),이창섭(ChangSeopLee),남상우(SangWooNam),여정권(JeongKwonYeo) 한국체육학회 2009 한국체육학회지 Vol.48 No.1

이 연구는 무용수들을 대상으로 외모에 대한 사회문화적 가치내재화 정도가 대상화된 신체의식과 사회적 체형불안을 매개로 섭식장애행동에 어떠한 영향을 미치는가를 분석하는 것을 그 목적으로 하여 수행되었다. 이를 위해 무용수를 대학생과 직업무용수 집단으로 나누어 총 195명을 대상으로 설문을 실시하였고, 그 결과 다음과 같은 결론을 얻을 수 있었다. 첫째, 외모에 대한 사회문화적 가치내재화와 대상화된 신체의식 및 사회적 체형불안 그리고 섭식장애행동의 비율에 있어 남자무용수에 비해 여자무용수가 그 빈도나 인식정도가 더욱 높은 것으로 나타났다. 둘째, 외모에 대한 사회문화적 가치내재화는 대상화된 신체의식과 체형불안 그리고 섭식장애행동에 의미있는 영향을 미치는 것으로 나타났다. 셋째, 각 변인 간의 인과관계를 본 결과 외모에 대한 사회문화적 가치내재화는 대상화된 신체의식과 사회적 체형불안에 영향을 미치고, 이는 다시 간접적으로 섭식장애행동에 의미있는 영향을 미치는 것으로 나타나 무용수들의 섭식장애행동의 빈도를 낮추기 위해서는 신체에 대한 자신감과 긍정적인 체형평가를 할 수 있는 환경을 마련해주어야 함을 알 수 있게 해주었다. The purpose of this study was to analyze the causal relationship among socio-cultural internalization of appearance, objectified body consciousness, social physique anxiety, and eating disorders of dancers. For achieving this purpose of the study, we distributed 195 questionnaires to dancers in four universities. As a result, we found some significant implications about the relationship among variables. First, socio-cultural internalization of appearance has a significant effects on the objectified body consciousness, social physique anxiety and eating disorders, showing that female dancers recognized those effects of variables rather than male dancers. Second, an analysis of causal relationship among those variables showed that socio-cultural internalization of appearance has a direct effect on the objectified body consciousness and social physique anxiety, furthermore, it has an indirect effect on the eating disorders of dances. This result provided some significant implications for setting a policy of dancers' social problems. That is to say, if we want to decrease in the degree of eating disorders of dancers, we first should make dancers have a positive image toward their body, conditioning organic environmental that dancers feel and evaluate their body as valuable and positive.

무용가의 아내로 살아가기

이화석(Lee, Hwa-Suk),육정희(Yuk, Jeong-Hee) 한국체육과학회 2015 한국체육과학회지 Vol.24 No.1

This study aims to understand what wives of Korean male dancers get to experience in their everyday lives after getting married and making a family around that time. To attain the goal, the researcher is going to describe the world where they live just as it is and analyze multilayered meanings they come to experience with a phenomenological approach. And by trying to understand how the wives having the most direct influence on each other live, the study intends to help male dancers’ families to lead more desirable and improved lives. This study also aims to provide useful information about what roles male dancers play in their families, how their wives play their roles and provide support, and how they actually live in the present and plan for their future. An in-depth interview is performed to the wives of six male dancers presently working as a dancer or choreographer about their roles and support and how they think about the present and the future, thereby gaining the following results: First, about wives’ roles and support, while they are working as a dancer or choreographer, husbands are struggling in the following ways: managing their physical conditions and stress, a couple’s communication regarding the general aspects of the husband’s performance, the wife’s supporter roles for her husband, and also work and child-rearing. Second, regarding how the wives think about the present and future, internally, they are worried about their hushand’s life as a dancer and financial aspects, and externally, they are hurt but endure uncomfortable eyes around them about financial aspects behind favorable feelings towards male dancers. As written above, this study have more closely examined the two roles of male dancers that coexist in reality where they encounter a dancer’s life on stage and a husband’s roles in an ordinary family with the medium of their wives.