한국 신무용의 태동과 발전과정에 관한 연구

유옥재 경희대학교 체육과학연구소 1999 體育學論文集 Vol.27 No.-

Dance is an artistic form that expresses one's emotions aesthetically through human natural movements. Since dance reflects living at the time, the history of New Korean Dance has attracted a lot of interest from a number of researchers. However, it is rather hard to investigate how it has developed historically because dance is not a material art form. Previous studies have also been limited in that they usually focused on a particular period or on the lives of particular dancers. The purpose of this dissertation is to examine how New Korean Dance started to develop into its present form and, by doing so, to explore its influence on present-day Korean dance. Following Ahn(1984), this study divides the history of New Korean Dance into four main periods: the Infancy Period(1926-1945), the Confusion Period(1945 9-1950. 6), the Watershed Period(1950. 7-1961. 5), and the Flourishing Period(1961.6-1972. 12). In this study, it is claimed that New Korean Dance began with the historical dance performance by Ishiipaku at Kyungsung Konghoidang on March 21, 1926. It was the first original stage performance in Korean dance history, and had a great influence on the subsequent development of theater dance. The main dancers during this Infancy Period include S. H. Choi, T. W. Cho, S. C. Bae, Han, and K. C. Bae. They put Korean dance on the stage as a group dance and made a significant artistic breakthrough by adding western elements. Thus, the dance during this period became the basis for the development of New Korean Dance. The Confusion Period is characterized by the Liberation from the Japanese oppression in 1945 and the outbreak of the Korean War. Due to the circumstances, there was no substantial development in Korean dance since most of the artistic activities were based on the ideology of that time. The primary purpose of the dance had been serving to comfort the army and the people without any creative development. The main dancers during this period are T. W. Cho, M. 1. Kim, B. Song, S. B. Chin, D. 1. Han, and C. H. Chang. The beginning of the Watershed Period was marked with unfortunate incidents where many noted dancers were either killed or kidnapped to North Korea during the war. However, as the war came to an end, dance started to flourish again with a number of commemorative performances in individuals or groups. The representative dancers during this period are T. W. Cho, B. Song, I. B. Lee, H. R. Kim, Y. H. Kim, P. B. Kim, 5, B. Chin, and Y. C. Cho. In particular, such events as the opening of dance departments in colleges, dance performances in their graduation, and dance contests opened a new horizon for Korean dance. The Flourishing Period was the most active period in Korean dance history. The Korean National Dance Association was established, and a number of existing and new dancers started to expand their performances to provincial areas and abroad. These dancers, including P. B. Kim, S. B. Yim, B. Song, C. G. Kim, M. S. Kim, S. Y. Kang, A. C. Kim, and 5. H. Song, played an important role in developing Korean dance as its present-day form. In conclusion, New Korean Dance started in 1926 historically, but the real development did not come until the early 1950s. In the mid 1950s, there began active performances by existing and new dancers, It was in the period from 1960 through the early 70s that New Korean Dance made a significant development as an independent art form. The main contributory factors were the establishment of the Korean Dance Association and other various dance groups, active performances in provinces and overseas, and the production of college graduated dancers and dance-related publications.

강원도 영동농악에 관한 조사 연구

유옥재 江原大學校附設 體育科學硏究所 1991 江原大學校附設體育科學硏究所論文集 Vol.- No.16

'Nongak' of Youngdong area in Kangweon province originated as a form of the rural ritual. In this regional type of Nongak. 'Geㆍshinㆍbabㆍgi' is more popular among folks than any other forms. Among the various types of this Nongak are 'Dalㆍmaㆍgiㆍgut', 'Honebㆍbulㆍnoㆍri', 'Gilㆍnoㆍriㆍnongak', 'Beaㆍgut', and 'Jinㆍdaeㆍbaeㆍgiㆍgut', and the last type is the most characteristic one. In addition to these, 'Nongak' of Youngdong area has the following features : It consists only of the main characters of the peasant band excluding all the other village folks who usually accompany the band in other types of Nongak. It uses 72feet 'Sangmo' in the three-layer 'Moodong' dance. The members of the band proceed repeating the single melody performed by each musical instrument in 'pan-gut'. It has a long and various narrative for 'Geㆍahinㆍbabㆍgi'. It emphasizes on the group activities rather than individual games. It has a dramatic mock representation of the process of cultivating crops. And it has a variety of the patterns of dancing.

한국신무용이 한국무용사에 미친 영향

유옥재 江原大學校 附設 體育科學硏究所 1998 江原大學校附設體育科學硏究所論文集 Vol.- No.22

Dance is and artistic form that expresses one's emotions aesthetically through human natural movements. Since dance reflects living at the time. the history of New Korean Dance has attracted a lot of interest from a number of researchers. However, it is rather hard to investigate how it has developed historically because dance is not a material art form. Previous studies have also been limited in that they usually focused on a particular period or on the lives of particular dancers. The purpose of this dissertation is to examine how New Korean Dance started to develop into its present form and. by doing so. to explore its influence on present-day Korean dance. Following Ahn(1984). this study divides the history of New Korean Dance into four main periods: the Infan cy Period(1926-1945). and the Confusion Period(1945.9-1950.6). In this study, it is claimed that New Korean Dance began with the historical dance performance by Ishiipaku at Kyungsung Konghoidang on March 21. 1926. It was the first original stage performance in Korean dance history. and had a great influence on the subsequent development of theater dance. The main dancers during this Infancy period include S. H. Choi. T. W. Cho, S. C. Bae. Han. and K. C. Bae. They put Korean dance on the stage as a group dance and made a significant artistic breakthrough by adding western elements. Thus. the dance during this period became the basis for the development of New Korean Dance. The Confusion Period is characterized by the Liberation from the Japanese oppression in 1945 and the outbreak of the Korean War. Due to the circumstances, there was no substantial development in Korean dance since most of the artistic activities were based on the ideology of that time. The primary purpose of the dance development. The main dancers during this period are T. W. Cho. M., I. Kim, B. Song S. B. Chin. D. I. Han. and C. H. Chang

강원도 영서농악에 관한 조사 연구

유옥재 江原大學校附設體育科學硏究所 1989 江原大學校附設體育科學硏究所論文集 Vol.- No.14

'Nongak' of Youngseo area in Kangwon province; 'Nongak' of Youngseo are in Kangwon province is much similar to that of Kyonggi province. 'Nongak' of Youngseo are in Kangwon province has developed 'Keullipaenongak' because it is chiefly performed in the field, the wide yard and the roadside. It is the remarkable thing of the 'Nongak'-fourChae, twochae, threechae, sevenchae' and shows 'Junggarak' specific to Cheulwon area. In terms of the number of persons, people playing 'Hwengseongnongak' and 'Peungchangnongak' is only made up of male persons. 'Cheulwonnongak' consists of fifty-two persons that is the greatest scale of the other 'Kangwon Nongakdae'. 'Hoengseong Nongak' contains disposition of troops in 'Nongak' such as 'kasaejinssatki', 'Obangjingssatki' and 'Mulaejinssatki', characteristic of which show the meaning of military affairs. In addition, they don't play 'Oesa' in movement of 'Sangmo' that 'Sangoe' and 'Peogujaebi' of 'Wonju(city name)' use. 'Nongak' of Youngseo area in Kangwon province is plain, static, simple and womenlike. It is remarkable thing, that a man in female costume dances 'Mudongnori'

韓國 農樂의 地域的 特徵에 관한 考찰

兪玉在 강원대학 1985 人文學硏究 Vol.21 No.1

佛敎儀式舞踊에 關한 硏究

兪玉在 강원대학 1982 人文學硏究 Vol.17 No.1

韓國 宮中 북춤에 關한 硏究

兪玉在 江原大學校附設體力硏究所 1981 江原大學校附設體育科學硏究所論文集 Vol.- No.6

This is a study on the Royal Court Buk-Chun as a kind or the traditional Royal Court Dance in Korea. There are Mu-Go, Tong-Young Buk-Chum, So-Go-Chum, Gi-Go-Chum, and Buk-Chum as a Kind of Buddhist Dance, in Korean Buk-Chum; and two of these, Mu-Go and Tong-Young Buk-Chum, belong to the Royal Court Buk-Chum. The performing ceremonies of the Oriental Court Dance are quite different from those of the Western one. While the Western Court Dance is a Kind of social recreational dance in which many people enjoy dancing themselves, the Oriental Court Dance is a kind of admiration dance which has been transmitted only by some specialists. In the case of the Oriental Dance, people enjoy watching the dance performed instead of dancing themselves. Mu-Go, as the Royal Court Jung-Jae, has an extraopdinary artistic value for its beauty of characteristic elegance as being praised in Ko-Ryo-Sa-Ak-Ji. Seung-Jun-Mu is another kind of Buk-Chun which has been transmitted only in the area of Tong-Young. It has three characteristics: lofty movement, nent, neat and harmonious arrangement, and classical artistic value. Korean Buk-Chum is distinguished from that of other countries in that it is usually accompanied by the music of Chang(Korean traditional ballad). Magnificent sound of drums and delicate arrangement of the Chum are the two elements which make it an exceptionally well-organized Korean traditional dance. It is suggested that we have to preserve the beauty of our traditional dance by retaining its original form; and to study it more producing the novelty of the new patterns, so that we can revive its beauty today and transmit the precious cultural asset of our ancestors to oul children.

韓國舞踊과 북에 關한 硏究

兪玉在 江原大學校附設體力硏究所 1980 江原大學校附設體育科學硏究所論文集 Vol.- No.5

國民學校 兒童들의 運動傷害 調査 : focussed on 4 districts in Kangweon province 江原道內 4個地域을 中心으로

韓相俊,金龍洙,吳壽一,朴南煥,洪寬伊,兪玉在 江原大學校附設 體育科學硏究所 1983 江原大學校附設體育科學硏究所論文集 Vol.- No.8

To suggest the basic data for a precautionary measures against sports injuries and safety educaion in Elementary school boys and girls, 1,149 boys and 1,111 girls(Total 2,260 answerers) who are 4th, 5th, 6th grade of Elementary school residing 4 districts((city, farm, fishing, and mining village) in Gang-weon province were answered on the questionair which is contents, 21 numbers of questions from Oct. 3, 1982. to Nov.3, 1982. The conclusions from gained results by analyzed data are as follows: 1. The most favorite sports Boys, Baseball and soccer Girls: Running and lope jumping Especially, boys residing in city area answered that the most favorite sports is baseball, and boys residing in the other districts answered that it is soccer. 2. The time required for carry out sports. About 85% of tatal answerer carry out sports 30min. to 1 hour per day. 3. Causes of sports injuries. Taking no notice of boys and girls carelessness and insufficiency of practice on the skill is the most. The next order, foul and a dangerous place in boys and fitness difficency in girls. 4. Situation injuries. When fall down a body toward the front was the most. During mining and collision against the other body were next order. 5. Injuried places and the weather. Out-door ground was most, the weather when injuried was clear. On the other hand, over 80% of total answere injuried season were summer and fall. 6. Sports events which caused sports injuries. Boys: Mainly soccer and baseball Girls: Running and lope jumping 7. Injuried part of the body was represented following order: ①The knee ②The ankle ③Hand and the charecteristic special features of injuries were sprain and laceration in addition, its symptom was acute form of decease. 8. treatment after injuried Boys and girls care at their home but 3.9% among total answeres who were injuried, and duration of curing was and day to 30 days. 9. A trend of experience on sports injury. 84% among total answerers in boys, and 75% among total answerers in girls. Thus it shows the experience ratis are more in boys than in girls.

무용전공학생과 일반학생의 운동감각에 관한 비교연구

유옥재 ( Ok Jae You ) 대한무용학회 1990 대한무용학회논문집 Vol.12 No.-