Korean Stage Dance As a New Trend in Kazakhstan Choreography Abstract Introduction
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Korean Dance and Pansori in D.C.: Interactions with Others, the Body, and Collective Memory at a Korean Performing Arts Studio
ABSTRACT Title of Document: KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO Lauren Rebecca Ash-Morgan, M.A., 2009 Directed By: Professor Robert C. Provine School of Music This thesis is the result of seventeen months’ field work as a dance and pansori student at the Washington Korean Dance Company studio. It examines the studio experience, focusing on three levels of interaction. First, I describe participants’ interactions with each other, which create a strong studio community and a women’s “Korean space” at the intersection of culturally hybrid lives. Second, I examine interactions with the physical challenges presented by these arts and explain the satisfaction that these challenges can generate using Csikszentmihalyi’s theory of “optimal experience” or “flow.” Third, I examine interactions with discourse on the meanings and histories of these arts. I suggest that participants can find deeper significance in performing these arts as a result of this discourse, forming intellectual and emotional bonds to imagined people of the past and present. Finally, I explain how all these levels of interaction can foster in the participant an increasingly rich and complex identity. KOREAN DANCE AND PANSORI IN D.C.: INTERACTIONS WITH OTHERS, THE BODY, AND COLLECTIVE MEMORY AT A KOREAN PERFORMING ARTS STUDIO By Lauren Rebecca Ash-Morgan Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2009 Advisory Committee: Dr. Robert C. Provine, Chair Dr. -
No. 22 How Did North Korean Dance Notation Make Its Way to South
School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 22 How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ How did North Korean dance notation make its way to South Korea’s bastion of traditional arts, the National Gugak Center? Keith Howard (SOAS, University of London) © 2012 In December 2009, the National Gugak Center published a notation for the dance for court sacrificial rites (aak ilmu). As the thirteenth volume in a series of dance notations begun back in 1988 this seems, at first glance, innocuous. The dance had been discussed in relation to the music and dance at the Rite to Confucius (Munmyo cheryeak) in the 1493 treatise, Akhak kwebŏm (Guide to the Study of Music), and had also, as part of Chongmyo cheryeak, been used in the Rite to Royal Ancestors. Revived in 1923 during the Japanese colonial period by members of the court music institute, then known as the Yiwangjik Aakpu (Yi Kings’ Court Music Institute), the memories and practice of former members of that institute ensured that the music and dance to both rites would be recognised as intangible cultural heritage within the post-liberation Republic of Korea (South Korea), with Chongymo cheryeak appointed Important Intangible Cultural Property (Chungyo muhyŏng munhwajae)1 1 in December 1964 and a UNESCO Masterpiece of the Oral and Intangible Heritage in 2001, and the entire Confucian rite (Sŏkchŏn taeje) as Intangible Cultural Property 85 in November 1986.2 In fact, the director general of the National Gugak Center, Pak Ilhun, in a preface to volume thirteen, notes how Sŏng Kyŏngnin (1911–2008), Kim Kisu (1917–1986) and others who had been members of the former institute, and who in the 1960s were appointed ‘holders’ (poyuja) for Intangible Cultural Property 1, taught the dance for sacrificial rites to students at the National Traditional Music High School in 1980. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Embodiments of Korean Mask Dance (T'alch'um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary Permalink https://escholarship.org/uc/item/9vj4q8r2 Author Ha, Sangwoo Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Embodiments of Korean Mask Dance (T’alch’um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Sangwoo Ha June 2015 Dissertation Committee: Dr. Linda J. Tomko, Chairperson Dr. Anthea Kraut Dr. Jennifer Doyle Copyright by Sangwoo Ha 2015 The Dissertation of Sangwoo Ha is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to take this opportunity to thank several people who shared their wisdom and kindness with me during my journey. First, Dr. Linda J. Tomko, who offered to be my advisor, introduced me to notions about embodying dances past, critical thinking, and historical research approaches. Not only did she help guide me through this rigorous process, she also supported me emotionally when I felt overwhelmed and insecure about my abilities as a scholar. Her edits and comments were invaluable, and her enthusiasm for learning will continue to influence my future endeavors. I offer my sincere gratitude to my committee members, Dr. Anthea Kraut, Dr. Priya Srinivasan, and Dr. Jennifer Doyle. They all supported me academically throughout my career at the University of California, Riverside. -
Korean Immigrant Women's Everyday Life Information S
ABSTRACT Title of Document: INFORMATION PRACTICES DURING LIFE TRANSITION: KOREAN IMMIGRANT WOMEN’S EVERYDAY LIFE INFORMATION SEEKING AND ACCULTURATION Jinyoung Kim, Ph.D., 2016 Directed By: Associate Professor, June Ahn, College of Information Studies/College of Education In this dissertation, I explore information practices during life transition in the context of immigration. This study aims to understand how their unique personal, social, and life contexts shape immigration experiences, and how these diverse contexts are related to various information practices that they engage in to resolve daily information needs and achieve immigration goals. In my study I examined daily information needs and acquisition of Korean immigrant women. Data were collected through two interview sessions, diary entries on everyday information seeking up to three weeks, post-diary debriefing interviews to reveal contexts surrounding information practices, and observation sessions. My study shows that one’s accumulated experiences with information-related situations shape the person’s attitudes toward diverse information resources and habitual information practices. Both personal and social contexts surrounding immigrant women change during life transition and shape how they interpret their immigration experiences, what information they need to deal with both daily and long-term goals, and how they modify their information practices to obtain the relevant information in an unfamiliar information environment. Also, life transition of immigration entails changes in immigrant women’s social roles, which engender their daily responsibilities in the new society. These daily responsibilities motivate immigrant women’s everyday interactions with a variety of communities in order to exchange information and conduct their social roles in the new sociocultural environment. -
1. Korean Zodiac the Chinese Zodiac Signs Are Used by Cultures Other Than Chinese, Too
EDIÇÃO Nº 07 NOVEMBRO DE 2014 ARTIGO RECEBIDO ATÉ 30/09/2014 ARTIGO APROVADO ATÉ 30/10/2014 ZODIAC ANIMALS IN KOREAN PROVERBS Arevik Chačatrjan Charles University in Prague, Department of Ethnology, Prague, Czech Republic SUMMARY:There are a lot of animals we can meet in Korean folklore, but in this paper are described the animals that are most commonly mentioned in the Far Eastern zodiac, better known in English as the Chinese Zodiac. Here are described the role of the zodiac animal images in Korean folklore: proverbs, sayings etc. Each animal has its allegorical form and expresses various traits of man. Dealing with twelve animals of the Korean zodiac such as rat (jui), ox (so), tiger (beom, horangi), rabbit (tokki), dragon (yong), snake (baem), horse (mal), sheep (yang), monkey (wonsungi), rooster (sutak), dog (gae), pig (dwaeji), this article represents a contribution to research in Korean paremiology in the specific field of animal idioms. Besides referring to proverbs and sayings about these animals, surely I also try to give some examples of their role and importance in the history of the Korean nation and in other genres of Korean folklore. For this article, are used both North and South Korean sources, mainly dictionaries and books of proverbs, in order to disprove the point of view that there are profound big language differences between the two Koreas. 1. Korean zodiac The Chinese zodiac signs are used by cultures other than Chinese, too. They are used in some other Asian countries that have been under the cultural influence of China and also in countries that have not been under influence of China. -
The Course – Curriculum for Master of Performing Arts (Mpa) (Dance & Drama )
SCHOOL OF PERFORMING ARTS SAMBALPUR UNIVERSITY THE COURSE – CURRICULUM FOR MASTER OF PERFORMING ARTS (MPA) (DANCE & DRAMA ) 2018 – 2020 1 Courses Offered : Master of Performing Arts (Dance & Drama) Aim and Objective : The above courses aim at providing both theoretical and Practical aspects of dance/drama to students and facilitating them to take up career in performing art. Duration : Two years Pattern : Semester-cum-Course Credit System Total Mark : 2000 Credit Hours : 80 CH Seats : 16 + 16 Outline of the Course Curriculum for MPA Special Papers : 1) Dance: (A) ODISSI (B) SAMBALPURI 2) Drama: ACTING 2 THE COURSE CURRICULUM FOR MASTER OF PERFORMING ARTS (DANCE) Outline of Course Curriculum 1ST SEMESTER MPA (DNC) – 4.1.1 : History of Indian Dance & Drama (Ancient and Medieval) (4CH) MPA (DNC) – 4.1.2 : Natyashastra and Other Texts (4 CH) MPA (DNC) – 4.1.3 : Folk Dance and Folk Drama (Major) of Western Odisha (4CH) MPA (DNC) – 4.1.4 : Studio Course (Practical) -Yoga, Music & Theatre Games (4 CH) MPA (DNC) – 4.1.5 : Studio Course (Practical)-Multimedia & Computers (4CH) 2ND SEMESTER MPA (DNC) – 4.2.1 : Indian Dance: Pre and Post-Independence Scenario (4CH) MPA (DNC) – 4.2.2 : Dance Aesthetics (4 CH) MPA (DNC) – 4.2.3 : Popular Dances of the World (4CH) MPA (DNC) – 4.2.4 : Studio Course (Practical) Abhinaya Aspect of Classical (4 CH) MPA (DNC) – 4.2.5 : Studio Course (Practical) Rhythm(4 CH) 3RD SEMESTER (Special Papers) A) ODISSI DANCE MPA (DNC) 5.1.1 : Dance Research (4 CH) MPA (DNC) 5.1.2 : Theory of Odissi Dance (4 CH) MPA (DNC) 5.1.3 -
Creative Factors and Ethnic-Folk Dance: a Case Study of the Peacock Dance in China (1949-2013) by Jiaying You a Thesis Submitted
Creative Factors and Ethnic-folk Dance: A Case Study of the Peacock Dance in China (1949-2013) by Jiaying You A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ukrainian Folklore Departments of Modern Languages and Cultural Studies and Anthropology University of Alberta © Jiaying You, 2016 ii Abstract My dissertation topic focuses on the interaction between dances, their contexts, and their meanings. I am interested in a wide range of creative factors that are involved in the dance-context interaction. I chose to investigate these factors by looking at the Peacock Dance, which originates in the Dai culture. I write about eleven case studies and focus on four different creative factors that have changed the peacock dance - individual, community, nationality, and state. Creative factors are the factors that actively influence the form/context/meaning of an ethnic-folk dance in certain ways. I call these factors as “creative factors” because they influence the creation of new characteristics of the ethnic-folk dances. Various factors can influence change in ethnic-folk dances, and the ones I focus on are only four of many. Change in ethnic-folk dance usually happens under the influence of one or all four creative factors, though each factor may be more or less active. These case studies demonstrate how four creative factors have changed the peacock dance from the Dai ethnic group. Because of the absence of earlier detailed information, there is no original peacock dance to make comparisons in an absolute sense. I consider Dance #1, the peacock dance by Mao Xiang around 1949, as the “original” peacock dance in my dissertation. -
Dokkaebi in Korean Folklore Grace K Im ENGL368D 12/7/17 Kim 1
Dokkaebi in Korean Folklore Grace K im ENGL368D 12/7/17 Kim 1 도깨비: Dokkaebi in Korean Folklore Above: Figures 1, 2 and 3 (bottom creature) all show visual variations of dokkaebi 이상하고 아름다운 도깨비 나라 Strange and lovely, the dokkaebi’s world 방망이를 두드리면 무엇이 될까 What will happen when he waves his magic club? Gold, come out – ddook-ddak 금 나와라 와라 – 뚝딱 은 나와라 와라 – 뚝딱 Silver, come out – ddook-ddak Romanized pronunciation: Ee-ssang ha-goh ah-leum da-oon dokkaebi na-la Bangmang-ee-leul doo-deuh lee-myun moo-ut-ssi dwel-kah Geum nah-wah-lah wah-lah – ddok-ddak Eun nah-wah-lah wah-lah – ddok-ddak Abstract The overall purpose of this research topic is to examine a folk belief within Korean culture. Essentially, the design of this paper starts off with this researcher’s initial understanding of dokkaebi, then develops the popular cultural symbol through personal interviews and academic literature. Finally, this paper will discuss the greater implications of the dokkaebi as a cultural symbol in terms of group philosophy and historical context. Kim 2 Introduction In a sense, the role that dokkaebi play in Korean folklore is comparable to that of leprechauns for the Irish. Dokkaebi are goblin-like spiritual creatures with supernatural powers and skills. They are central to Korean culture because adults tell children stories about them as a communal mechanism to promote good behavior always. Furthermore, the mischievous, trickster figure involves an element of restorative balance that emphasizes the spectrum of their significance as a Korean folk belief; it is understood that dokkaebi can either positively or negatively affect an individual, directly correlating with one’s intentions and deeds. -
Copyright by Hyunjung Lee 2008
Copyright by Hyunjung Lee 2008 The Dissertation Committee for Hyunjung Lee Certifies that this is the approved version of the following dissertation: Global Fetishism: Dynamics of Transnational Performances in Contemporary South Korea Committee: Elizabeth Richmond-Garza, Supervisor Sung-sheng Yvonne Chang Robert M. Oppenheim Stacy Wolf Alexandra K. Wettlaufer Global Fetishism: Dynamics of Transnational Performances in Contemporary South Korea by Hyunjung Lee, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2008 Acknowledgements This project would not have been possible without the help, care, and input of several individuals. I owe a debt of gratitude, especially, to my supervisor Dr. Elizabeth Richmond-Garza whose guidance, understanding, and strenuous support helped me work through my dissertation smoothly: she made the writing process enjoyable, always keeping my reasoning on the right track. I am also very thankful to my committee members and their generous intellectual support: Dr. Sung-sheng Yvonne Chang for sharing her insights on the importance of inter-Asian relationships and theoretical positioning; Dr. Alex Wettlaufer for her warm encouragement and insightful comments; Dr. Robert Oppenheim for our stimulating conversations about the Korean social scenes; and Dr. Stacy Wolf for inspiring me to approach theatre and performance as something alive and constantly moving. I am very fortunate to have a valuable network of friends who helped me through my dissertation process. To Kay Robin Alexander for her careful editing of my manuscript. -
Dancing from Past to Present: Nation, Culture, Identities (Madison, 2006); Dance and Society: Dancer As a Cultural Performer
Claremont Colleges Scholarship @ Claremont Pomona Faculty Publications and Research Pomona Faculty Scholarship 7-1-2008 Review: Dancing From Past to Present: Nation, Culture, Identities (Madison, 2006); Dance and Society: Dancer as a Cultural Performer. Re- appraising Our Past, Moving Into the Future (Budapest, 2005) Anthony Shay Pomona College Recommended Citation Anthony Shay (2008). Review of Theresa Jill Buckland 'Dancing from Past to Present: Nation, Culture, Identities' Dance Research Journal, 40, pp 95-98. doi:10.1017/S0149767700001431. This Book Review is brought to you for free and open access by the Pomona Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. bodies in motion and reflection to create a Music. Budapest: Akademiai Kiado, European sense of unity in difference. Folklore Institute. 289 pp., illustrations, refer- The last piece, Abduction ofSita, a story ences, appendix. $45.00paper. from Ramayana, is an obvious choice for the collaboration by the choreographers/ The large international participation of schol- dancers Sundaram and Pujawati as it is the ars, many of them young graduate students, in common cultural thread that connects Bali the recent CND/CORD/SDHS conference and India. Sundaram uses the Bharatnatyam in Paris (June 21—27,2007), along with new structure and Pujawati uses techniques from publications in the field and the spread of Arja theater to re-imagine this popular world dance courses in colleges and universi- story in a Balinese-Indian idiom. However, ties in many regions of the world, suggest the it would have been more interesting if the need for increasingly sophisticated research choreographers could retell this story from a publications. -
Trabzon University State Conservatory Vol: 4 Issue
Trabzon University e-ISSN: 2618-5652 State Conservatory Vol: 4 Issue: 1 June 2020 Masthead Musicologist: International Journal of Music Studies Volume 4 Issue 1 June 2020 Musicologist is a biannually, peer-reviewed, open access, online periodical published in English by Trabzon University State Conservatory, in Trabzon, Turkey. e-ISSN: 2618-5652 Owner on behalf of Trabzon University State Conservatory Merve Eken KÜÇÜKAKSOY (Director) Editor-In-Chief Abdullah AKAT (İstanbul University – Turkey) Deputy Editor Merve Eken KÜÇÜKAKSOY (Trabzon University – Turkey) Technical Editor Emrah ERGENE (Trabzon University – Turkey) Language Editor Marina KAGANOVA (Colombia University – USA) Editorial Assistant Uğur ASLAN (Trabzon University – Turkey) Contacts Address: Trabzon Üniversitesi Devlet Konservatuvarı Müdürlüğü, Fatih Kampüsü, Söğütlü 61335 Akçaabat/Trabzon, Turkey Web: www.musicologistjournal.com Email: [email protected] All rights reserved. The authors are responsible for all visual elements, including tables, figures, graphics and pictures. They are also responsible for any scholarly citations. Trabzon University does not assume any legal responsibility for the use of any of these materials. ©2017-2020 Trabzon University State Conservatory Editorial Board Alper Maral Ankara Music and Fine Arts University – Turkey Caroline Bithell The University of Manchester – UK Ekaterine Diasamidze Tbilisi State University – Georgia Elif Damla Yavuz Mimar Sinan Fine Arts University – Turkey Erol Köymen The University of Chicago – USA Gözde Çolakoğlu -
The Bawdy, Brawling, Boisterous World of Korean Mask Dance Dramas: a Brief Essay to Accompany Photographs
The Bawdy, Brawling, Boisterous World of Korean Mask Dance Dramas: A Brief Essay to Accompany Photographs CedarBough Saeji, University of California, Los Angeles Note: This essay is a companion piece to “Korean Mask Dance Dramas,” a photo essay also published in the September 2012 issue of the Cross-Currents e-journal. The photo essay features 24 photographs taken by the author in Korea in the years 2008-2011. Introduction Korean mask dance dramas are captivating and entrancing. Comedy, tragedy, and social commentary meld with energetic dance, distinctive masks, and lively music. These dramas are often colloquially and incorrectly referred to as talchum (“mask dance”) in Korean—in fact, talchum is one of the major variants of mask dance drama from Hwanghae Province in present- day North Korea. Performers of other variants have long objected to the broad application of the term (akin to calling all in-line skates “Rollerblades” or all MP3 players “iPods”). Only in the late 1990s did academia catch on, when two highly respected midcareer mask dance drama scholars, Bak Jintae (Daegu University) and Jeon Kyungwook (Korea University), began to use the terminology talnoli (“mask play”) and gamyeon-geuk (“mask drama”) in their publications. I needed to watch only one performance, in 1997, to fall in love with the mask dance dramas, but at first the many forms of the genre melded together in my mind. It took repeated exposure and study over more than a dozen years for me to see the profound similarities and differences among all of Korea’s mask dance dramas. Part of my learning process was exploring the existing scholarship on mask dance dramas.