<천부경>의 한사상으로 시도해본 우리춤의 새로운 깊이와 넓이 : 창작춤 <묘>, <본>, <근> 그리고 <류>의 구성원리 = The Novel Depth and Width of Korean Traditional Dance Implemented by "The Han Thought of Chonbukyung" -Construct principles of the creative dances, Myo, Bon, Kun, and Ryu

다국어 초록 (Multilingual Abstract)

The Han thought is logic of circulation, transition, and creation. Each of these logical elements does’nt exist separately from each. It is Chonbukyung that has been the fundamental text for me to transfer the Han thought into dances. Among those three profound elements of Chonbukyung I chose Myo as the primary subject for my dance since it represents a fundamental question of ones both present and past existence. Where have I come from? To this question, Chonbukyung answers that there’s neither a beginning nor an ending and the mysterious answer has lead me to continuously work with the other elements, Kim and Bon. My greatest interest in the power of life originated while I was materializing. The Han Thought into my dancing and bringing the performance on stage had been intensified by creating Ryu the tree of life. While substituting Korean ancient history for my dance that, so far, has been mostly about pursuing symbolic meaning within mythological space, I was able th express a certain feminine sense of value being re-evaluated in these days through my work While doing this kind of work, I have observed certain points of views such as the following:
1) The motives of my dances are lights and scents. I intend to stage my dance as a symbol of the cosmic life connoting infinite creativity originating from these motives.
2) Its the dance without a beginning or an ending that becomes the fundamental principals of my dance.
3) The internal life of my dance is based on the 'shinmyung' of shamanism
4) The stage is a place that unites nature, god, and cosmos into one, and communicates the cosmic life orders.
5) The gestures of a dancer has to be visually beautiful and the dancer has to try to represent the perfect human whos able to sense and to give out the message of the life orders of cosmos through his/her body.
6) The principles of movement are totally based on nature.
7) My dance is a medium enabling myself to find equality of the past and the present through the conflicts and compromises between them.
8) The dancers numbered 1 and 3 have their own numeric symbolic meanings.
9) In addition, the title has its own symbolic meanings. Until now, Ive chosen one-syllable words as the titles of my dances since I danced the Hwal in 1988. In Chonbukyung, number 1 represents both the beginning and the ending, however, it also mentions that there is neither a beginning nor an ending. The reason that I happen to choose one-syllable words as my titles is not because I wanted my dances to be perfect, but because I wanted them to be the symbols that represent the change of time and lifes energy.
As mentioned above, the contract principles based on 'The Han Thought' help the appreciators understand the various possibilities upon the interpretations of each of my dances and helped myself complete my performances without being disturbed by already existing conceptions.

목차 (Table of Contents)

• Ⅰ. 서론
• 1. 머리말
• 2. <천부경>의 한사상
• 3. 한사상의 보는 몸에 대한 해석
• 4. 한사상을 적용한 춤에 대한 해석
• 5. 무대구성에 적용된 한사상
• 6. 한사상을 적용한 작품의 실례
• 7. 작가의 관점에서 본 새로운 시도를 위한 결론