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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국체육철학회 움직임의 철학: 한국체육철학회지 움직임의철학: 한국체육철학회지 제2권 제1호
발행연도
1994.8
수록면
231 - 257 (27page)

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초록· 키워드

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If the male dance in china, originated from the primitive age according to the fable or legend, is classified in terms of form by the literature, it is divided into the religious dance, imitative dance, dance of martial art and folk dance. 1) The religious dance penetrated deeply into daily lives as the Chinese spiritual product, and came to encompass the elements of the nature worship and shamanism. And the religious dance was transformed into the dance imitative of life and labor with the changes of the times, and metamorphosed into the martial-art dance after its gradual simplification. 2) The martial-art dance took the combined form of dance and martial art, and so became a means for showing off national imposing dignity. The martial-art dance, originated and developed through the expression of masculine strength and valor, the purpose of combat training, prepared for the war, or the representation of heroic figures, have nat been separated from each other in spite of the long stream of the times, and developed by the male dancer for a long time. 3) The imitative dance originated from the imitation of animals through working lives or hunting, and there were many singing and dancing that applied the movement of birds or animals in a bid to imitate the totemic target or to entertain God. It can be said that the representative dance of China is the form of "lion dance" and that of "bird dance." 4) The folk dance, or the folk performing arts came to pervade the folk life in china, and had a connection with the ceremony of ancestral sacrificies, martial art, imitation, and the like equally. The folk dance, developed in the ages of Chum-Chiu and the Warring states, oftem was used as the means of providing food for the masses while produang forming artists. And civilians in China sold their accomplishments for clothing, food and shelter before the Cultural Revolution. Like this, the folk dance, undergoing hardship and the disturbances of war, has maintained its own life and come to do performance actively after the emancipation of China. The specificity of the male dance in China is oriented toward imitation or the new dance that has the combination of the western dance with the dance in the form of the martial art or the traditional dance of China. The tendency of performance by the male dances who are active at present is to attempt the divesity of themes or materials irrespective of the distinction of the genres of dance. In the midst that choreographs and work activities are performed by setting the thought dance labor dance and imitative dance as the material for dance, the artist of chosen race like Cho` Deuk-hyun, is recreating our proper dance and actively performing in China. Seen from this perspective, the Chinese dance has long maintained a close relationship to the Korean dance in historical terms and the new Chinese dance has come the to be created through its combination with the western dance. The conflicts of thought have thrown a dark shadow on the activity of dance before Chinese emancipation in the past, but China is creating new forms of art and literature by the instrumentality of many changes and reformations. Here male dances are making an attempt to change the existing forms of art and typy them. This would become the new foundation for the development of Chinese arts.

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