Hostname: page-component-77c89778f8-vpsfw Total loading time: 0 Render date: 2024-07-22T23:59:00.711Z Has data issue: false hasContentIssue false
  • English
  • Français

Qualitative Change in Performances of Two Generations of Korean Dancers

Published online by Cambridge University Press:  22 July 2014

Christine Loken-Kim  and
Juliette T. Crump
Get access Rights & Permissions [Opens in a new window]

Extract

In the twentieth century, dance performances in the Republic of Korea have undergone a number of changes in terms of settings, audiences, and performers. Since the 1970s dance activity has blossomed under the auspices of university dance and physical education departments; there has been a steady increase in the number of professors of dance and also in the number of students majoring in dance. With the regular academic calendar, a concert season has developed and professor-choreographers have been pushed to provide new dance pieces for these concerts. Many of the new works freely blend vocabulary from various styles of Korean dance, such as court, professional female entertainer (kisaeng) (I), mask, and farmers' dances, with spatial arrangements suited for a proscenium stage.

While this creative activity is indicative of the growth taking place in all areas of Korean society, older specialists in Korean culture and arts have noted that recent efforts involve changes in the movement qualities and moods created by dancers. As these specialists watch younger dancers perform the traditional dances they often lament that “something” is being lost (Lee, Du-hyon 1984).

Type
Articles
Information
Dance Research Journal , Volume 25 , Issue 2 , Fall 1993 , pp. 13 - 20
Copyright
Copyright © Congress on Research in Dance 1993

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bartenieff, Irmgard with Lewis, Dori 1980 Body Movement: Coping With The Environment. N.Y.: Gordon and Breach, Science Publishers, Inc. Google Scholar
Bartenieff, Irmgard, Hackney, Peggy, Jones, Betty True, Van Zile, Judy, and Wolz, Carl 1984 “The Potential of Movement Analysis as a Research Tool: A Preliminary Analysis.” Dance Research Journal 16/1:3–26.CrossRefGoogle Scholar
Chang, Sa-hun 1986 “Women entertainers of the Yi Dynasty.” Studies on Korean Women, series I. Women of the Yi Dynasty. Seoul: Research Center for Asian Women. Sook-myung Women's University: 257–265.Google Scholar
Chŏng, Pyŏng-ho 1987 Han' guk Ch'um(KoreanDance). Seoul: Yolhwadang.Google Scholar
Davis, Martha 1970 “Movement Characteristics of Hospitalized Psychiatric Patients.” Proceedings of the American Dance Therapy Association.Google Scholar
Dell, Cecily 1977 A Primer for Movement Description Using Effort Shape and Supplementary Concepts. N.Y.: Dance Notation Bureau.Google Scholar
Gellerman, Jill 1978 “The Mayim Pattern as an Indicator of Cultural Attitudes in Three American Hasidic Communities: A Comparative Approach Based on Labananalysis.” Essays in Dance Research. Dance Research Annual IX: 111–144. N.Y.: Congress on Research in Dance.Google Scholar
Howard, Keith 1988 Korean Musical Instruments: A Practical Guide. Seoul: Se-Kwang Music Publishers.Google Scholar
Jablonko, Allison and Kagan, Elizabeth 1988 “An Experiment in Looking: Reexamining the Process of Observation.” The Drama Review 32/4:148–163.Google Scholar
Kim, On-kyŏng 1982 Han' guk Minsok Muyong (Korean Folk Dance). Seoul: Hangsol.Google Scholar
Laban, Rudolf and Lawrence, F.C. 1974 Effort. Plymouth: Macdonald and Evans Ltd.Google Scholar
Lamb, Warren and Turner, David 1969 Management Behavior. New York: International Universities Press.Google Scholar
Lee, Byong-won 1979 “Evolution of the Role and Status of Korean Professional Entertainers (Kisaeng). The World of Music 2:75–81.Google Scholar
Lee, Byong-won and Cho, Won-kyung with Lee, Sun-ock 1984 Asian Dance and Drama. N.Y.: The Asia Society/VRI Slide Library.Google Scholar
Lee, Du-hyon (Professor of Korean Folklore, Seoul National University) 1984 Personal communication.Google Scholar
Lee, In-suk 1986 “Heabanghu ui Muyong Pip'yonge Kwanhan Yon'gu,1945–1967” (A Study on the Dancing Criticism After Korean Liberation, 1945–1969). Seoul: Ehwa Woman's University Master's Thesis.Google Scholar
Levy, Robert 1984 “Emotion, Knowing and Culture,” in Shweder, Richard A. and Levine, Robert A., eds., Culture Theory: Essays On Mind, Self, and Emotion. Cambridge: Cambridge University Press.Google Scholar
Loken-Kim, Christine 1989 Release From Bitterness: Korean Dancer as Korean Woman. PhD dissertation: University of North Carolina.Google Scholar
Lomax, Alan, Bartenieff, Irmgard, and Paulay, Forrestine. 1968 “Dance Style and Culture,” in Lomax, Alan et al, Folk Song Style and Culture. Washington, D.C.: American Association for the Advancement of Science, Publication #88: 222–247.Google Scholar
Maletic, Vera 1987 Body-Space-Expression. New York: Mouton de Gruyter.CrossRefGoogle Scholar
Ness, Sally Ann 1986 “Dance in the Philippines: A Semiotic Analysis of the Commercialization of a Ritual.” Proceedings, Congress on Research in Dance 1986 Conference: 61–67.Google Scholar
Ness, Sally Ann 1992 Body, Movement, and Culture: Kinestheticand Visual Symbolism in a Philippine Community. Philadelphia: University of Pennsylvania Press.CrossRefGoogle Scholar
Pforsich, Janis 1978 “Labananalysis and Dance Style Research: An Historical Survey and Report of the 1976 Ohio State University Research Workshop.” Essays in Dance Research. Dance Research Annual IX: 59–74. N.Y.: Congress on Research in Dance.Google Scholar
Van Zile, Judy 1987 “Ch'oyongmu: An Ancient Dance Survives.” Korean Culture 8/2:5–9.Google Scholar
Youngerman, Suzanne 1978 “The Translation of a Culture into Choreography.” Essays in Dance Research. Dance Research Annual IX: 93–110 N.Y.: Congress on Research in Dance.Google Scholar