부산의 현대무용 역사분석: 부산무용협회를 중심으로

장정윤 영남춤학회 2024 영남춤학회지 Vol.12 No.3

이 연구는 한국무용협회 부산광역시지회(1962년 창립. 2022년 대한무용협회 부산광역시지회로 개정. 이하 부산무용협회)에서 주관하는 주요행사(‘부산무용예술제’, ‘청소년예술제’, ‘부산무용제’, ‘새물결춤작가전’)에 부산지역 현대무용의 참가활동(2024년까지)을 역사적으로 고찰하는 것을 목적으로 한다. 부산무용협회 행사로서 현대무용이 참가활동을 시작한 1980년대 이전의 부산지역 현대무용 현황을 파악하기 위해 1950년대, 1960년대와 1970년대 현대무용 공연 및 교육을 개관하였다. 1980년대 현대무용기법의 활용, 1990년대와 2000년대 현대무용공연의 활성화, 그리고 2010년 이후 신진안무가의 활동 등에 주목하여 각 장에서 고찰하였다. 연구를 위해 2010년까지의 무용공연에 대한 문헌자료로서 ‘한국예총부산광역시연합회[편](2012), 부산예총 50년사: 1962~2011’ 등을 참고하였고, 2011년부터 2024년까지의 공연 팜플릿은 부산무용협회에 보관된 자료 등을 참고하였다. 연구결과 1990년대 이후 젊은 안무자와 단체의 ‘부산무용제’와 ‘새물결춤작가전’에의 참가자가 현저히 증가하였음을 알 수 있었다. 아울러 새로운 세대의 창작무대를 통해서 현대무용의 창조적 역량을 강화하고 창의적 전문인력을 양성하고 배출함으로써 부산무용의 발전에 영향을 미쳤음을 알 수 있었다. 타 지역과 차별화된 부산지역무용축제와 국제교류를 위해서는 현대무용의 역할에 대한 연구가 우선 필요하며 이에 따른 부산무용협회의 혁신적 활동에 대한 연구가 필요하다 아울러 부산지역 세대간 통합을 지향하는 무용행사의 개발과 부산지역 향토무용콘텐츠의 개발 등을 제언하는 바이다. The study intends to analyze the activities of modern dance in Busan, such as the ‘Busan Dance Art Festival’(1977-2024), the ‘Youth Art Featival’(1987-2024), the ‘Busan Dance Festival’(1992-2024) and the ‘New Wave Dance Concert’(1997-2024) that are being supervised by the Korean Dance Association, Busan city branch(founded in 1962, previously the Daehan Dance Association, Busan city branch). The study overviews the 1950s, 1960s and 1970s, when modern dance did not just perform on Busan stage but was also educated at schools and dance laboratories. Dance education at universities in Busan started from 1973, activated by performances from the 1980s. This study shows that the modern dance activities of the ‘Busan dance festival’ and the ‘New wave dance concert’ have constantly increased from the 1990s by 2010s, mostly through the rise of young choreographers. These events affected the development of dance culture in Busan by advancing creative ability through a new generation’s stage experience and the cultivation of creative artists. Henceforth, the research on the exploration of modern dance’s differentiated path within Busan for international exchange and the creation of local dance content for generation integration is required.

육완순의 현대무용 활동에 관한 연구

최경희 ( Kyung-hee Choi ) 한국무용교육학회 2016 한국무용교육학회지 Vol.27 No.2

Yuk, Wan-soon is a one of the person who represents Korean modern dance. Wan-soon is a educator and a choreographer. She is referred to as a pioneer of Korean modern dance. She studied at University of Illinois Graduate School and Martha Graham School of Contemporary Dance in 1961~1963. After returning home, she has taught American modern dance, Martha Graham dance technique at Kyung Hee and Ewha Womans University. At that time, dance training was mainly conducted in studios. Alternatively, she strengthened modern dance through curricular or extracurricular lesson, regular concert, summer workshop etc. Moreover, she founded dance company such as Orchesis(1963) and Korea Contemporary Dance Company(1975). She encouraged students to embody creative and experimental spirit through those organizations. Because of the systematic and specific education, modern dance became settle as part of university education and arts education. Her artistic works vary from Korea and religious things, topic of environment and science related to day-to-day life. Especially, her concern as a choreographer side by side with flow of the era which intend to newly interpret and create materials of Korea. Due to contact with the various audience, modern dance spreads out in Korea and established a position as an art area. In addition, she presented the direction and possibilities of dance studies on the basis of research and writing activity. Her main academic interests focused on choreography and improvisation, and modern dance. However, it encompassed the dance aesthetics, western dance history, anatomy, acting etc. In 1985, she established the Modern Dance Promotion of Korea in cooperation with contemporary dance artists. Its original aim is to enhancedance arts in Korea and to promote mutual understanding and cooperation with international society through dance exchange programs. Holding Korea Dance Festival, the Seoul International Choreography Festival are representative examples. She has been constantly tried to cultivate dance specialists and challenged globalization of Korean modern dance.

창무춤에 드러나는 현대화 작업의 긍정적 정신

윤수미 ( Soo Mi Yun ),임지애 ( Ji Ae Yim ) 한국무용연구학회 2015 한국무용연구 Vol.33 No.3

Established in December 1976, Changmu dance company had since given fresh air to the world of Korean creative dance and had continued to focus on modernizing Korean dance in order to satisfy the needs of the present time. To seek future-oriented directions for the development of the company, this paper put importance on reviewing some positive effects of its modernization which was implied in Changmu dance and its future-oriented meanings. Furthermore, it also investigated how such positive spirit had developed socially and artistically. As a result, it was found that Changmu dance was not just the revival of traditional dances and had an intention of accepting modernity in terms of aesthetics but nevertheless quite distinct from the previous dances not like New Dance. In addition, this study had the meaning of recording modern works of Changmu dance activities but it was expected that it would help follow-up studies to research various aspects of challenges and experiments based on modernity which members of Changmu dance company would positively achieve.

20세기 춤의 현대화 과정에 나타난 심리표현의 특성 - 예술심리학의 논의와 비교를 중심으로 -

나일화 ( Na Ilhwa ),김말복 ( Malborg Kim ) 한국무용예술학회 2014 무용예술학연구 Vol.48 No.3

The purpose of this study is to analyze contemporary discussions over psychology of art comparatively with the characteristics of psychological expressions shown in the process of modernization of the 20th century dance. The modernization of the 20th century dance shares modernism’s ‘existing system and criticism over tradition’ and ‘subjective experience and individualistic’ characteristics. Also, regarding the psychological expressions of modern dance and modern ballet, major discussions and comparative analysis of experimental psychology, psychoanalysis, and Gestalt psychology show that the modernization of dance gave and received influence with the ideology of the time. There has been no research so far that deals with psychological expressions shown in the 20th century modern dance in relation with psychology of art of that time. This study is significant in that it has discovered the contact point that art of dance exchanges with the ideology of the time beyond a certain choreographer’s expressive method or a microscopic view to a dance work and also suggested a macroscopic point of view that can figure out the position of dance among the aesthetic flows of the other arts.

실존주의 철학에서 바라 본 이사도라 던컨의 무용사상이 현대 춤에 미치는 영향

박인실,김지영,한효림 한국체육철학회 2012 움직임의철학 : 한국체육철학회지 Vol.20 No.3

This study aims at understanding connection between basic concepts of existentialism and dance ideas of Isadora Duncan, an initiator of modern dance. This study looked into influence which existentialism and her dance ideas had on each other and common points between them. It is important to study her dance ideas in light of existentialism because it is about studying experience of body motions and the most basic things of dance and existentialism are philosophy which is the foundation of dance displaying artistic motions with the body. According to an analysis of dance in light of existentialism and her dance ideas, the two have something to do with each other that both are based on men getting rid of formation. The study shows that existentialism and her dance ideas are quite meaningful because they have formed the basis of modern dance since the 20th century. 본 연구는 실존주의 철학의 기본개념들이 현대무용의 창시자인 이사도라 던컨의 무용사상과 어떠한 공통점이 있으며, 상호 어떠한 영향을 미쳤는가를 알아보고, 오늘날 현대 춤에 대해 어떠한 영향력을 미치고 있는지 알아보는데 목적이 있다. 이사도라 던컨의 무용사상을 실존주의 관점에서 고찰하는 이유는 무용의 실존주의 탐구는 신체 움직임을 체험하는 것에 대한 가장 근본적인 것들을 연구하기 때문에 중요한 의미를 가지며, 신체를 중심으로 예술동작을 펴나가는 무용으로서는 실존주의가 바로 무용의 근간을 이루는 철학이기 때문이다. 실존주의 관점에서 보는 무용과 이사도라 던컨의 무용사상을 분석한 결과 형식을 벗어던진 인간 주체를 기본으로 한다는 점에서 일맥상통하며 실존주의 사상과 이사도라 던컨의 무용사상은 20C 이후 현대무용의 사상적 기조를 이루고 있다는 점에서도 중요한 의미를 내포하고 있다.

전통재창작춤 사랑가에 내재된 정서표현과 현대적 가치 조명

김미숙 ( Mi Sook Kim ) 한국무용연구학회 2013 한국무용연구 Vol.31 No.3

This study focused on excavating/shedding light on the new figure of traditional dance and is aimed at examining the emotional expression and modern value immanent in ‘Sarang-ga’, the recreated dances from tradition. It was confirmed the emotional expression immanent in this work was the dual industrial structure of the tension and relaxation as a result of analyzing Mong-Ryong Lee`s emotion based on the contents of ‘Sarang-ga’ (love song), Yeon Soo Kim`s Dongchoje Pansori. And it was grasped that in the dancing structure based on this, as the work ‘Sarang-ga’ was separated from the dance drama to intact traditional dance repertory, the emotion and movement expression were also increasingly becoming purified lyrically. The scarcity of man and woman-2 men dance, popularity of intimate material, and flexibility of recreated dances from tradition were searched as the performance artistic value in terms of the modern value this work had, and the integrative artistic value including the personality education in terms of education, the value as dance treating program for the conjugality recovery in terms of healing could be confirmed. The author hopes this study will contribute to the popularization and excavation of the traditional dance and the awareness expansion of the succession.

북한춤의 전통성과 현대성에 관한 一考察: < 조선예술>의 무용기사를 중심으로

김채원 무용역사기록학회 2017 무용역사기록학 Vol.47 No.-

In this study, I examined how the succession and modernization of tradition has been emphasized through the articles related to dance in North Korea’s comprehensive art magazine Joseon Art focusing on its traditionality and modernity. The research method was centered on literature analysis and image analysis. In the literature, from the first issue of 1956 to the first of June 2000, 344 out of 468 articles were reviewed and analyzed. The analysis revealed that the majority of articles has focused on the discussion on the issue of inheriting and developing the people's dance heritage among the anti - revolutionary dance heritage and ethnic classical dance heritage. Based on socialist realism as a principle in succession and development, discourses in the articles have emphasized revolution in contents and have tried to create dance based on national characteristics in terms of form. I can see that the articles have strived to present the dance as a means of educating people’s ideology. The contents discussed in the Joseon Art from the 1950s to the 1970s were found to be further developed in the later period. North Korea has developed dance that promote the superiority of the Korean people based on Juche ideology. It was found that the principles related to dance decided before the 1980’s have continued in the “invariant law”. 본 연구에서는 북한에서 발행하는 종합예술잡지 『조선예술』에 실린 무용관련 기사를 통해 전통의 계승과 현대화 작업이 어떻게 강조되면서 진행되어 왔는지 전통성과 현대성을 중심으로 고찰하다. 연구방법은 문헌분석과 상분석을 중심으로 진행하는바, 문헌은 1956년 창간호부터 2000년 6월호 까지를 대상으로, 각 호별 차례 면에서 무용항목을 검색하여 전체기사 468편 가운데 수집 가능했던 344편의 기사를 검토, 분석하다. 또한 시청각자료를 활용하여 무용작품에서의 전통성과 현대성 구현 양상을 살펴보았다. 분석결과, 북한에서는 무용에 있어서 항일혁명무용유산과 민족고전무용유산 가운데 인민적 무용유 산을 계승, 발전시키는 문제에 대한 논의가 중점적으로 진행되어 왔음을 파악했다. 또한 계승과 발전에 서의 원칙으로 사회주의적 사실주의에 입각해 내용면에서는 혁명성을 강조하고 형상면에서는 민족적 특성을 바탕으로 하는 무용창작에 힘쓰며, 이를 인민의 사상교양수단으로 복무시키는데 힘써 왔음을 알 수 있었다. 『조선예술』에서 중점적으로 논의된 명제는 ‘민족적’, ‘혁명적’, ‘혁명전통’, ‘현대성’, ‘진실성’ 등으로 축약된다. 이 명제에 관련한 여러 다양한 논의들은 사상내용적 측면과 창작형상적 측면에서 전반적으로 다뤄지고 있으며, 1950년대부터 1970년대에 논의된 내용들은 그 이후 시기에서 더욱 심화되면서 전개 되었음을 확인할 수 있었다. 결론적으로, 『조선예술』의 기사를 통해 여실히 드러나는 것은, 북한은 주체 사상을 기조로 조선민족의 우월성을 내세우는 다양한 방침과 시책 하에 무용예술의 계승과 창조, 발전 을 꽤해 왔으며, 그것은 1980년대 이전에 결정된 무용예술의 제반사항들이 ‘불변의 법칙’ 속에 이후시 기에도 지속되어 왔음을 엿볼 수 있었다는 것이다.

부산시립무용단의 사(史)적 흐름 고찰

민성희,허태성 영남춤학회 2023 영남춤학회誌 Vol.11 No.1

The report wraps off a foundational investigation into how the Busan Municipal Dance Company portrays the city's unique local identity. The Busan Municipal Dance Company's fifty years of performance activities were historically analysed, and the role the work activities played in the development of Busan's dance culture was looked at. The first choreographer was Hwang Mu-bong, followed by Kim Hyeon-ja, Choi Eun-hee, Lee No-yeon, Hong Min-ae, Kim Jin-hong, Hong Ki-tae, Hong Kyung-hee, Kim Yong-Chul, and Lee Jung-Yoon, who served as the 11th chief choreographer. The analysis of each choreographer's prior performance activities revealed that, in the past, the themes of the dance were sympathetic to the people of Busan. It focuses on the struggles and tragedies that people who are subjected to social and economic conditions go through. To emphasise locality, the Dongnae Crane Dance, Dongrae Yaryu, and Mask Dance, among other Busan folk dances, were performed or recreated. Thirdly, it made an effort to modernise tradition in order to reveal the region's character. Fourth, public talks and travelling performances have aided in growing the dance's audience. As a result, through exploring the history of the Busan Municipal Dance Company, we can anticipate the growth and next big step of dance culture in the Busan area while also bringing the region's identity to life.

소설에서 현대춤으로 : <금병매>에 나타난 인물 반금련의 각색 원리 연구

증규,서연수 한국국회학회 2026 한국과 세계 Vol.8 No.1

This study examines how the character Pan Jinlian from the novel The Golden Lotusis represented and re-created in the modern dance work The Golden Lotus, verifying whether a character-centered adaptation framework functions as a valid analytical criterion in modern dance analysis. Rather than proposing a new theory, it tests the applicability of the Principles of Character Reproduction in Adaptation and the Principles of Character Re-creation in Adaptation through a case-based approach. Pan Jinlian’s narrative function, social position, and desire structure in the novel are analyzed and applied to key scenes and object usage in the modern dance work. The results show that the two adaptation principles are applied selectively depending on scene and relational context. Her desire is reinterpreted from sexual motivation to subjectivity, while tables, ropes, whips, and bells visualize both reconfigured agency and persistent feudal oppression. This study demonstrates the analytical applicability of character-centered adaptation principles in the analysis of novel-to-modern-dance adaptations.

무용대중화의 의미와 과제: 발레를 중심으로

박은혜 인문예술학회 2024 인문과 예술 Vol.- No.17

본 연구는 한국 무용계에서 하나의 신념으로 자리하고 있으나 정작 학술적으로는 충분히 논의되지 못했던 무용대중화의 의미를 담론적이고 실제적 측면에서 살펴보고 그 과제역시 탐색하는데 목적이 있다. 이를 위해, 무용계는 물론이고 이를 교차하는 사회적 맥락 및 현상들을 포괄하면서도 풍부하며 광범위한 문헌고찰을 수행하였다. 효율적 논의를 위해 발레사례를 중심으로 살펴보았다. 이 글은 첫째 담론적 차원에서 해방 후부터 현재까지 한국에서 80년 동안 진행되어 온 무용대중화론의 배경과 흐름을 정리하였고, 둘째 무용대중화의 현재적 양상을 살펴보았으며, 셋째 무용대중화의 그늘과 과제에 대해 알아보았다. 그 결과 첫째 무용대중화론은 1990년대를 전후하여 변화하였으나 이것은 무용의 사회적 영향력을 확장하기 위한 노력으로 해석될 수 있었다. 둘째 무용대중화의 현재적 양상은 무용계의 주요 구성원들이 예상한 것보다 훨씬 다양한 모습으로 확인되었다. 셋째 무용의 대중화 정도를 간접적으로 가늠할 수 있는 자료들을 통해 무용의 수용 혹은 소비가 일부의 집단에게만 편중되어 있음을 알 수 있었으며, 이는 대중화가 달성되었다고 여겨지는 발레분야에서도 마찬가지였다. 무용을 대중에게 알리고 즐길 권리를 부여하는 데 예술계 구성원들이 힘을 쏟는 한편으로 무용을 자원삼아 창조적 문화활동을 가능하게 해주는 쪽에도 상당한 관심을 기울여야할 필요가 있다. 지속적이며 확장가능한 무용대중화를 위해 이러한 문제들에 대한 체계적 논의가 필요할 것이다. This study explored the meaning of dance popularization, which has been established as a belief in the Korean dance world but has not been sufficiently discussed academically, from a discourse and practice perspective, and also explored the challenges. To this end, a rich and extensive literature review was undertaken, covering the world of dance and the social contexts and phenomena that intersect with it. This article focused on the case of ballet for efficient discussion. This article firstly summarized the background and development of dance popularization in Korea from liberation to the present at the level of discourse, secondly examined the current aspect of dance popularization, and thirdly examined the shadow and tasks of dance popularization. As a result, firstly, the discourse of dance popularization could be interpreted as an attempt to expand the social influence of dance. Secondly, it was confirmed that the actual aspect of dance popularization is much more diverse than expected by key members of the dance world. Thirdly, data that can be used to estimate the degree of popularization of dance indirectly have shown that the acceptance or consumption of dance is concentrated in a few groups. This was also the case with ballet, where popularization was thought to have been achieved. In conclusion, this article suggests that considerable attention needs to be paid to enabling creative cultural activities that use dance as a resource, in addition to focusing on the public's right to enjoy dance and the provision of information. Systematic discussion of these issues will be necessary for the ongoing and scalable popularization of dance.