꿈과 인생

허순선 새가정사 1984 새가정 Vol.- No.-

靈山齋作法의 着服舞에 關한 硏究Ⅲ : 運心揭 着服舞을 中心으로

許順善 광주대학교 1989 論文集 Vol.6 No.-

Yongsanjae chakbokmoo(the dance in robes) consists of Doryangkai, Wangsangai, Dakai, Wunshimgal, Okongrang, Samkyeu, Giokgo, Mokranchan, Hyanghwakai and Chekyeu. Nun's robe means Budda, the long sleeves mean the fins of a fish, the hat means a head of a fish, The foot means a caudal fin and the body means a body of a fish. Bompai consists of double sounds, Pagatchabi and Anchabi. These Chakbokmoos are handed down by only some monks in the temple, and the initiating system and study seem to be insufficient. This paper trys to arrange the method of Wunshimagai for students to learn the dance correctly.

朴琴瑟 韓國舞踊 用語 硏究 : 韓國無踊 用語 定立을 위하여

許順善 광주대학교 1984 광주개방대학 논문집 Vol.1 No.-

I have established the technical terms of Korean dancing and have recorded the basis and dance composition of Korean dancing, if the leader(coach) tells learners the terms, they may be able to make motions. I have studied the book, that is terms of Korean dancing which was published by Park Geum-Seul, and found that there are many technical terms of the spirit of traditional dancing of Korean people and furthermore there are scientific coined word and method, I think that these words should be evaluated high, and the traditional and spirit of Korean dancing which might have been forgotten in our memory will be continued remaining forever, I think.

호남 춤의 맥과 뿌리를 찾아서 : 양태옥의 춤 세계 연구

허순선 한국문화학회 1999 한국문화학회 학술발표회 Vol.- No.-

靈山齋作法의 着服舞에 關한 硏究 : 茶偈 着服舞를 中心으로 Focused on the method of Dakai

許順善 광주대학교 1988 論文集 Vol.5 No.-

Among the Buddhist dances in Youngsanjae Chakbokmoo(the dance in robes) consists of the method of Doryangkai through which a dancer admires Buddhist magnanimity, the method of Dakai, which he offers a tea and the method of Wunshimgai, which he makes an offering of a meal. In the robe the long sleeves of Paldai Changsam(a Buddhist monk's robe attached eight scraps) express fins of a fish, the hat expresses a head of a fish, the foot expresses a caudal fin and the body expresses a body of a fish. Pompai consists of double sound composed by Pagatchimi and Anchimi. These kinds of Chakbokmoo are handed down by some monks of Taegojong but the initiating system and study seem to be insufficient. This paper trys to arrange preferentially the method of Dakai for students to learn to learn correctly.

박금슬의 입춤 연구

허순선 韓國舞踊敎育學會 2008 한국무용교육학회지 Vol.19 No.1

The purpose of this study is to survey the component elements of the Introductory Dancing[Lipchoom] Of Pak Keum Seul who has been influenced by Jung So-San, who was a professional royal Gisaeng of late Joseon Dynasty, and Jung Ja-Sun, who was the dancing teacher of Honam region and to discuss and derive the most appropriate appelation on the basis of reference literature and my experience by surveying the range of the Introductory Dancing[Lipchoom]. Pak Keum Seul classified the dancing gestures[Choomsawi] of the upper body and the lower body and arranged the terms which have been described stepwisely as the introductory ground dancing[Lipbatchoom], the introductory naked-hand dancing[Lipmaensonchoom] and the introductory towel dancing[Lipsoogunchoom]. In a narrow sense the Introductory Dancing[Lipchoom] refers to the naked-hand dancing which is an adjusted form of the ground dancing[Batangchoom] which controls the body according to the rhythm or beat of tunes for an exorcism[Gootgury]. In a wide sense the Introductory Dancing[Lipchoom] refers to any basic dancing which has the nature of basic dancing regardless of the rhythm or beat. From now on in case that any dancing has the nature of basic dancing it is desirable to add 'Introductory' to the appelation of any dancing.

인문사회과학영역 : 박은하의 남도깁수건춤 무보의 특징 -허순선의 무보틀에 의한 표기-

허순선 ( Soon Sun Heo ) 한국무용연구학회 2012 한국무용연구 Vol.30 No.2

Namdo Gip Soogan Chum is a kind of Salpuri Chum and has been inherited through Keumok Kim, Moan Cho and Eunha Park. Today only Park is still alive but old. To keep her traditional and original Gip Soogan Chum it`s urgent to record her dance. This paper notates Eunha Park`s Namdo Gip(rough silk) Soogan Chum using Soon-Sun Heo`s Korean Dance Notation Frame. Namdo Gip Soogan Chum is notated emphasizing the following characteristics. First, the beat is composed of 119 Salpuri beats, 84 Jajinmori beats and again 9 Salpuri beats are followed. Second, Mamgyeol(Emotion) is expressed Han(sadness) in the slow beats, using Gip Soogun, and changed into Sinmyung(joyfulness) in the fast beats. Third, as for Soomgyeol(breath), in the first beat Deulmumchumsoom is taken. In a half beat Deulsoom, Deulmeomumsoom, Deulmeomchumsoom, Nalsoom and Nalmeomumsoom are taken in order. Sometimes in the second beat, the strong Nalmeomchumsoom is used. Fourth, in the Palsawi(the motion of arms), when arms are lifted on, one in the back is higher and the other in the front is lower. Baldidimsawi(the motion of feet) is used more than Baldoteumsawi. For Geuleumsawi(walking motion) mainly use Didimgeoleumsawi, Modeumgeoleumsawi and Ggachigeoleumsawi. Fifth, This Chum is danced alone, so Chumgil is mainly in the center of the stage. The dancer`s body enjoys the diagonal line.

한국무용 기본춤사위의 구조와 용어

허순선 ( Soon Sun Heo ),오레지나 ( Regina Oh ),김옥희 ( Ok Hee Kim ),양서정 ( Seo Jung Yang ),이유진 ( Yu Jin Lee ) 한국무용교육학회 2013 한국무용교육학회지 Vol.24 No.2

Korean dance is handed down the type of pedigree and background ideas and occurs depending on the region. The term has been referred to variously as much as Various types of dance. Korea dance moves of culture and ideology holds, the term itself, you can experience the Korean sentiment. Korean dance of efficient practical training and systematic theory in this study to cleans up the term of a term that can complement existing dance. Korean dance moves presented in this study, the structure was divided into the lower body and upper body, the whole body. The dancing in the breathing, breathing and dancing to match the dance 6. Lifting, opening, and extension is represented by inhalation to dance, dance by exhalation down, closed, is represented by the movement of the bend. The upper body by breathing is open, firmware, and down, closed, bending that are common in the lower body and upper body choreography. The dance term for a variety of South Korea on the type of dance that can be accepted for this study to propose and Korean dance choreography cultural values as a practical education than Korea Dance efficiently and systematically, it can forward theoretical research that can be sustained by expectations should.

박은하의 민승무 중 법고무 연구

허순선 ( Soon Sun Heo ) 무용역사기록학회 2010 무용역사기록학 Vol.19 No.-

The purpose of this study is to make a dance score of Beopgomu(Buddhist Big Drum Dance) in Pak Enuha`s Minsungmu(Folk Buddhist Dance) which has been handed down by the oral tradition and its performances, in order to understand its fundamental character, and to analyze Beopgomu in the scientific and systematic way. Pak Enuha`s Minsungmu, especially Beopgomu, has several characteristics different from other Buddhist Big Drum Dances. In this aspect, it is worthwhile to record Pak Eunha`s Beopgomu in dance notation. A recorded dance score may be used as the basic data in the further study of Buddhist Big Drum Dance. The dance score in this study is composed of three parts; Garakbo(the melody score) in the middle part, `sutabo(the hand-hit score) and Guumbo(recitation score) in the lower part, and Mamgyeol(feeling), seumgyeol(breathing) and Yutmomgil(the direction of the head and the body) in the upper part. Garakbo is shown on and beneath the middle long line. sutabo is made up with Oeun (left hand) and Ba(right hand). Gueumbo has Myunta(hitting the surface of the drum), Taeta(hitting the rim of the drum) and Cheta(hitting the drum sticks), which follow the similarity of their sounds. Mitmomgil uses signs of foot shapes, knee bendings, and the center of the body. Mamgyoul displays the feeling with some simple sentences. seumgyoul makes use of slashes to expose inhalation, exhalation, and caesura. Finally, Utmongil brings in pointers to show the direction of the body and the head. The scientific and systematic performance of Beupgomu can be achieved by virtue of the instant glimpses on the score here which shows how to find expression of the outer and inner body simultaneously.