체육철학 : 한국 전통무용가의 무용의 의미분석 -민속지학적 관점-

황경숙(HwangGyeongSug) 한국체육학회 2004 한국체육학회지 Vol.43 No.1

The purpose of this study was to investigate the meaning of dance experiences in the lives of traditional Korean dancers from the cultural perspective. Total seven traditional Korean dancers who were nationally appointed as the human cultural assets were selected as the research participants for this study. For doing this, methodological and theoretical foundations were based on ethnography.The research results indicated that the traditional Korean dancers perceived the traditional Korean dance as 1)a means for living and 2)a job in the economic aspect and as 1)the unification of body and mind and 2)aesthetic expressions of the body in the aspect of physicality expressions. And, in the aspect of personal achievements, they found the significance of the traditional Korean dance in pursuing 1) life goals, 2)courses of life and 3)sense of achievement.For the meaning of the dance, 1) means for living, 2)job, 3) unification of body and mind, 4)aesthetic expression, 5)achievement of goal and 6)course of life were categorized.It was expected that, in future, methodological approach to the traditional Korean dance based on these research results would be very useful in explaining and understanding the cultural aspects and situations involved with the dance in a wider sense. In this respect, this study will mark the beginning of the job to investigate the deep essence of the traditional Korean dance world and to increase its significance and value.

문화기술지적 무용연구에 대한 비판적 성찰

김현정 ( Hyun Jung Kim ) 대한무용학회 2010 대한무용학회논문집 Vol.64 No.-

This essay aims to examine dance ethnography and its theoretical issues in relation to today`s "post conditions," which are post-modern, post-colonial, post-structural, and post-traditional. For this, I review postmodern anthropology, which criticizes ``ethnographic realism`` in the crisis of representation, and emphasizes experimental ethnographies with self-reflexivity. Then I explore how four cases studies, written by four dance scholars in the U.S., show the main issues of postmodern anthropology. Their ethnographic studies of dance challenge to the methodology of traditional anthropology by revealing social power in doing fieldwork and writing ethnography. They show self-reflexivity by discussing how their identity has influenced on their research process and ethnography. They write experimental ethnographies such as ethnohistorical, metaphorical, dialogic, and performative ethnographies. They emphasize the importance of corporeality to the areas of humanities as well as dance studies. This essay provides an opportunity to reconsider socio-political contexts for writing dance ethnography in "the crisis of representation."

“박금슬류 김광숙 예기무”의 민속지적 연구

이경호 ( Kyung Holee ) 한국체육사학회 2013 체육사학회지 Vol.18 No.1

박금슬류 김광숙의 예기무는 원래 전통적으로 교방무(敎坊舞) 계통에 속해 있던 춤이 점차 서민적인 춤 쪽으로 그 성격이 변화되어 온 것이다. 이 춤은 대구 권번의 정소산에 의해 박금슬에게 전수되고, 다시 박금슬이 김광숙에게 전수하여 오늘에 이르고 있다. 김광숙은 서울에서 출생하여 전주에서 성장한 다음, 20대에 박금슬 문하에 들어가, 매우 어려운 상황 속에서, 이 춤은 해외에서 전수받게 되었으며, 박금슬이 서거한 뒤 1980년대 중반에 처음으로 재현 공연을 가져 오늘에 이르고 있다. 예기무의 공연구조는 도입부·부채춤·맨손춤·수건춤·접시춤 등 모두 5단계의 과정적 구조를 이루고 있다. 예기무의 주요 춤 동작들을 분석해 보면, 박금슬류 춤 동작들이 골고루 융합되어, 미학적 조화를 이루고 있음을 알 수 있다. Kim Kwang-sook`s ``Yae-ki-moo(藝妓舞)`` of Park Kum-sul School has been transformed from traditional kyo-bang-moo (敎坊舞) to folkdance. This dance was handed down from Jung So-san to Park Kum-sul and from Park Kum-sul to Kim Kwang-sook. Structure of Yae-ki-moo is composed of part of introduction, part of fan dance, part of empty-handed dance, part of towel dance, and part of plate dance. Characteristics of this dance are as follows; total representation of Kisaeng`s life, taking a serious view, joksawi (feet-asctions), motions of feeling like non-moving, total fusion of various of dance styles, dance motions, methods of breath and male-like dynamics, representaion of total being spiritually awakened of life.

전문무용인들의 라인댄스 강사 활동경험에 대한 자문화기술지

김희진 ( Hee Jin Kim ),박휴경 ( Hyu Kyoung Park ),정원정 ( Won Chung ) 대한무용학회 2022 대한무용학회논문집 Vol.80 No.1

This study is a qualitative study borrows the auto-ethnography of exploring the experiences and meanings of dance professionals after job conversion to line dance instructor. Interviews and observational data with five research participants’ responses who share the same life trajectory with the researcher, were collected. The results were categorized into ‘the passion for dancing is revived’, ‘effort and pleasure for me’, ‘learning and lessons through human relationships’, ‘importance of digital information technology’, and ‘happiness of living in a busy life’. Through these careers, dance professionals who couldn’t give up working in dance succeeded in challenging themselves into the unfamiliar field of the same dance field. The meanings obtained from the professional dancers' carrier as line dance instructors were derived from 'the second life of a dancer', 'a life of change and growth', and 'a life looking forward to the future'. In other words, They referred “I regained confidence as I grew and changed through line dance instructor, which gave the expectation that I would live with dancing without stopping dancing work.” In conclusion, it was derived that dance professionals not only enabled their activities in the field but also experienced learning, challenges, and hope in their entire lives through the carrier of line dance instructors.

무용 지도자의 직업사회화 과정에 관한 문화기술지

김영란,정윤덕 한국체육과학회 2020 한국체육과학회지 Vol.29 No.5

Occupational socialization is a process by which individuals internalize occupational culture. The aim of the current study was to ascertain the views and perceptions of Dance instructors regarding the efficiency of occupational socialization periods and the level of their occupational socialization using ethnography to let pre-service Dance instructors understand the occupational socialization process. The twelve research participants was chosen among Dance instructors in Seoul city and Gyeonggi province. From January to April, 2020, the research participants was interviewed in depth using unstructured pattern and half-structured pattern through their personal laptop or computer due to the COVID-19 outbreak. The results of this study was came out as follows. In the early stage, motives for joining Dance instructors are 1) efforts to foster pre-dancers 2) family or teachers’ recommendation, and 3) interest in education. The initial difficulties are 1) lack of teaching experience, 2) trial and error of teaching methods, and 3) lack of the guidance of Dance instructors. Second, in the adaptation stage, different points of view compared to the past is 1) popularization of dance, and 2) high capabilities. The perception of lack of expertise is 1) the limitation of empirical knowledge, 2) the desire to be a good instructor, and 3) the psychological instability. Third, in the growth stage, efforts to acquire theoretical knowledge are 1) the Internet; 2) consultation with eminent Dance instructors, 3) books, and 4) graduate school entrance. An effort to teach well is 1) seeking advice from other instructors, 2) thinking in students’ shoes, and 3) improving self-management.

자문화기술지를 통해 본 한 교육대학 교수의 무용교수경험 탐구

유미희 ( Yoo Mi-hee ) 한국무용예술학회 2016 무용예술학연구 Vol.60 No.3

I narrated my experience of teaching prospective teachers at a teachers’ college through my auto-ethnography. This study conducted domain analysis and taxonomic analysis proposed by Spradley on memory records, self-monitoring inventory, reflective journals, and student course evaluation impressions in my 10 year career of being a professor, and the results are as follows. First, the teaching environment of a teachers’ college was an unknown world to me, and I was a complete alien. Second, my working for the department of physical education reconfirmed that there was an uncomfortable conflict between physical education and art. Third, the rigid training methods implemented in the dance class made me reflect on what the practical knowledge of art was on the education spot to me who was accustomed to apprentice education as an art professor. Fourth, it is found that the dance class giving fun was a new experience to perspective teachers by reminding them of interests in their body and perception of dance, and that elementary perspective teachers learned artistic creativity and imagination as an important quality.

Gains and Losses of a Resident Dance Group: An Auto-ethnography

( Kwak Young Eun ) 한국무용예술학회 2017 무용예술학연구 Vol.65 No.3

This research is motivated by the fact that mere statistics about performing arts groups in the government white papers are not enough for understanding the dire situation in which performing arts organizations struggle to create and perform arts with no subsidy or with a modicum of mostly one-time only public support. Based on my experience as a representative of a private non-profit dance company, I try to convey, through my auto-ethnography, the problems that performing arts organizations confront in more vivid description and in depth. My dance organization went through some positive and negative internal changes including an identity crisis since we had been selected as a resident performing arts group with a regional public performance hall. We also had to overcome external obstacles of uncertainty in policy and lack of communication with the administrative personnel. I discuss how to deal with these changes and problems.

무형문화재의 영상민속지 기록화 작업의 특징과 문제점

이상현(Lee Sang-Hyun) 비교민속학회 2010 비교민속학 Vol.0 No.43

본 연구는 무형문화재의 영상기록화 사업의 특징과 문제점을 분석하기 위하여 작성되었다. 이를 위하여 안동의 하회탈놀이 영상기록 특히 국립문화재연구소에서 제작 의뢰한 영상자료를 연구 대상으로 선정하였다. 그리고 본 영상민속지의 구체적인 분석을 위하여 영상민속지에 대한 개념 정의를 시도하였고 분석틀을 구축하기 위하여 다큐멘터리영화 분석 방법을 제시하였다. 이러한 과정을 통하여 하회탈놀이 영상민속지를 분석한 결과 본 영상민속지는 하회탈놀이를 구성하고 있는 6개 마당을 상대적으로 많은 분량으로 제작 편집하였고 특히 연희자, 탈놀이의 움직임 그리고 탈에 대하여 중점적으로 영상 기록하였다. 반면에 하회탈놀이의 일부 과정이 생략되거나 관찰자의 입장으로 촬영 대상만을 촬영하여 연희자의 입장이 반영되는 카메라 시선이 거의 활용되지 못한 한계 등 여러 가지 문제점을 지적하였다. 다만 이러한 문제점을 해결하기 위하여 본 영상민속지 작업에 참여한 영상전문가들은 인터뷰 혹은 자막 등의 다양한 영상 편집 기술을 응용하여 해결하려는 노력을 보여주고 있다는 점도 본 연구에서 밝혔다. 본 연구에서는 기존의 탈놀이의 역사와 변천과정에 대하여 주로 연구하였던 민속학적 연구에서 벗어나 기존 민속학자들의 연구 결과를 영상으로 담았던 영상민속지를 분석하였다는 점에서 연구의 의의가 있다고 판단된다. 다만 한정된 사례만을 분석하였고 더구나 하회탈놀이를 영상에 담은 여러 영상민속지를 체계적으로 정리하지 못하였다. 이러한 한계로 인하여 하회탈놀이를 영상으로 기록한 다양한 영상민속지에 함축되어 있는 원형의 의미 그리고 각 영상 자료에 함축되어 있는 원형의 표현방법에 대하여 분석하지 못했다는 비판을 받을 수 있다. 이러한 문제는 기존 민속학 혹은 영상학에서 이에 대한 논의가 거의 없었다는 데 근거를 찾을 수도 있지만 차후 연구를 통하여 보완할 계획이다. This study has been composed for the analysis of properties and problems of businesses that visual records of intangible cultural assets. To achieve this, the visual records of the Andong Hahoe Mask play and especially the production of visual data as requested by the National Cultural Properties Research Institute have been selected as the subject of study. Also, in order to analyze this visual ethnography in detail, the definition of the concept based on the visual ethnography has been attempted, and a method of analyzing documentary films has been proposed in order to construct an analytical frame. As a result of analyzing the visual ethnography of the Hahoe Mask play through this process, this visual ethnography has produced and edited a relatively large quantity of six episodes that accommodate the Hahoe Mask play, and the visual records especially of the movement of the mask play and theatrical entertainers, as well as the mask have been made. On the other hand, many problems have been pointed out, including the restrictions of not fully using camera views that reflect the standpoint of the theatrical entertainer, as the play has only been filmed in the standpoint of the audience, or that certain processes of the Hahoe Mask play has been omitted. However, this study has also revealed that visual professionals who participated in the process of this visual ethnography are showing effort in the resolution of these problems by applying various visual editing techniques, as interviews or subtitles. This study is judged to have significance in the point that it has analyzed the visual ethnography visually containing research results of existing folk scholars, breaking from folklore studies that have mainly studied the transitional process and history of the existing mask play. Even so, only certain cases have been analyzed, and moreover, the many visual ethnographies that visually consist of the Hahoe Mask play have not been systematically organized. Due to these restrictions, it may receive criticism of the lack of analysis of the expressive methods of the archetype implied in each visual data, and the meaning of the archetype implied in various visual ethnographies, which visually record the Hahoe Mask play. Such problems may be resolved by searching for the evidence that there have virtually not been any debate on the matters in existing folklore or visual studies, however the problems are to be corrected through future studies.

Gains and Losses of a Resident Dance Group: An Auto-ethnography

곽영은 한국무용예술학회 2017 무용예술학연구 Vol.65 No.3

This research is motivated by the fact that mere statistics about performing arts groups in the government white papers are not enough for understanding the dire situation in which performing arts organizations struggle to create and perform arts with no subsidy or with a modicum of mostly one-time only public support. Based on my experience as a representative of a private non-profit dance company, I try to convey, through my auto-ethnography, the problems that performing arts organizations confront in more vivid description and in depth. My dance organization went through some positive and negative internal changes including an identity crisis since we had been selected as a resident performing arts group with a regional public performance hall. We also had to overcome external obstacles of uncertainty in policy and lack of communication with the administrative personnel. I discuss how to deal with these changes and problems.

교육대학 온라인 무용수업경험에 대한 자문화기술지연구 -신체표현활동 강의를 중심으로-

유미희 한국무용예술학회 2020 무용예술학연구 Vol.79 No.3

This study uses auto-ethnography to review my experience of a dance course conducted online due to the COVID-19 pandemic. Through the qualitative analysis of personal recollections, course plans, online sources, course materials, self-evaluations, and student evaluations of the course, the study reached the following conclusions. First, as an instructor who had only taught in face-to-face settings, I realized my lack of familiarity with modern technology and online culture. Second, I found online education that involved no face-to-face contact intimidating and frustrating. Third, to be a guiding rather than a leading instructor, I focused on adapting to the changing conditions and maintaining a two-way communication environment to avoid a one-way instruction.