earticle

영어

The emergence of “new dance” is considered an important event in history of Joseon folk dance, from the ancient times driven by slavery through modern times. Choi Seung-hee was a pioneer of “new dance” and leader in “new dance” in Asia. In addition, she was a great contributor to change and development of Joseon folk dance and had great impact on development of oriental dance as well. In this paper, I studied Choi’s identity and her body, her performance, logics of her performance, and her performance notion, and her revelation which drove her to be dedicated to folk dance. This study analyzed Choi’s dance in three categories of identity, language, and revelation. In the category of identity, three subjects of janggyeong (場景) and identification, Choi’s identity, and her body were discussed. janggyeong (場景) is a concept I used to study dancing phenomena in different scenes. The word is a combination of jang (場), meaning space and gyeong (景), meaning sight. Therefore, the word refers to sight of a person doing something in a space, which naturally comprises elements of person, work, time, and space. When space, a person, and work exist at the same time, space is confined to work and a person’s identity is defined as work he is doing, and work is a determinant of the person’s identity. Choi Seung-hee was engaged in dance and related work in her whole life. This gave her multiple identities aside from a dancer. In the beginning, for example, she was a dancing learner and a person expressing things through dance, and when starting to create work, she was a creator of art work and finally she was a dancing educator, researcher, and manager. She obtained some of them simultaneously while others one by one over a long period of time. From the viewpoint of cultural and institutional norms, her identities represented a unity of Western and Eastern cultures, a unity of Western and Eastern dance, and a unity of traditional and modern dance. Despite this, her movement, as a dancer, stood for Joseon folks and modernity. In the language category, three subjects such as performance, performance logics and performance notions were discussed as a dancing language. For dancers, language means performance and Choi’s performance mainly concerned creating work of Joseon folk dance and developing teaching materials. Language is the logic of social activity and for dancers, it becomes the grammar of dance performance. The grammar served as the underlying basis of Choi’s work creation and developing teaching materials and the means of language turned into teaching materials for Joseon folks. The way the language was used became how Joseon folk dance was formed. Based on this, I concluded that Choi Seung-hee’s performance of Joseon folk dance and her teaching materials can be defined as use of a Western system by Joseon folk. Language is a concept and idea associated with social activity. Choi’s dance encompassed ideas of nation, people, creating new things and openness. The category of revelation detailed the great dancer’s revelation to development of Joseon folk dance, which concerned respect for fellow people, self-awakening, no fear of creating new things, and open-mindedness.

한국어

조선민족의 무용변천사에서 “신무용”의 시기는 명령 혹은 분부를 받는 노예제 사회 시대였던 고대와 새로운 시대를 맞이하는 당대에서 중요한 역사적 단계에 속한다. 최승희는 조선민족 “신무용”의 개척자 이자 또한 동양 “신무용”을 이끌고 선도한 자이다. 그녀는 조선민족 무용문화의 변화와 발전에 큰 기여 를 한 사람이며 동시에 동양무용의 발전에도 큰 공을 세웠다. 본 문에서는 주어진 자료를 근거로 하여 배경이론을 바탕으로 “신분, 언어, 계시” 이 세 가지 주제를 중점적으로 최승희의 신분, 몸, 그리고 그의 무용행위, 행위논리, 행위관념과 민족무용을 이끌어 나갈 수 있는 계시를 연구하고자 한다.