earticle

영어

This article explores the philosophy of life contained in Lee Ae-ju’s dance and its theory from a critical perspective. I first discussed the planning intentions of the three works of Lee Ae-ju’s Creative Dance Ttangkkeut, Nanumgut bap, and Balloon Flower, as well as the view of life of her dance. Secondly, the traditional dances of Seungmu, Salpurichum, and Taepyeongchum were explained, and Lee Ae-ju's artistic life and dance worldview were examined. Finally, the meaning and nature of the Lee Ae-ju’s dance, intended to be expressed across traditional and creative dances, were identified and the philosophy of life within it was explored. An artist who has contributed significantly to the prosperity and development of Korean dance; an innovator who has steered her craft toward opening doors to a new world of creative positivity, Lee Ae-ju was such an artist. While traditional dance of the past and modern forms of creative dance have often been in conflict, Lee’s nationally designated dance has spread its wings defying a century of creative ideology. By adding excitement and style to the rhythm, her art has sublimated dance into a form that embraces rebirth with joy. Through her dance, she gave new life to the creative spark of her field and helped instilling hope for both freedom of expression and democratization.

한국어

본 글은 춤꾼 이애주가 지켜 온 전통춤 「승무」, 「살풀이춤」, 「태평춤」의 전승적 가치를 조명하고, 그가 정치적 흐름 속에서 창안한 「땅끝」, 「나눔굿 밥」, 「도라지꽃」의 기획 의도 그리고 춤판 현장에 담긴 생명철학을 사회적 시각과 사상적 관점에서 살핀 것이다. 옛 전통과 시대적 창안을 오가며 무한히도 개전되었던 이애주의 춤 세계는 세기에 부응 하여 감흥의 날개를 펴고 민족의 춤으로 거듭났다. 가락에 흥과 멋을 얹어 신명에 거듭난 춤으로 불태웠고, 그 자태는 궁극에 달하여 예술로 승화되었다. 그 춤새가 혼돈에 처한 시국에 올라앉으니 그 또한 민주화를 울부짖는 바람맞이춤으로 승화되었다. 전통춤 계승 자로 그리고 민중의 희로애락을 풀어낸 시대의 바람맞이 춤꾼으로 우뚝 선 이애주는 우리 시대를 풍미한 춤꾼이다.