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The Ethnic dance

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수록정보
수록범위 : 16권0호(2012)~22권0호(2018) |수록논문 수 : 49
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22권0호(2018년 09월) 수록논문
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1중국 고대의 제례악무 연구 ―주(周)나라의 육대무(六代舞)를 중심으로―

저자 : 허영일 ( Hur Young-il )

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 9-42 (34 pages)

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It was during the Xizhou(西周) Dynasty, while the lord reorganized the Yuewu(樂舞) of the previous generation and established etiquette music; the Liudai-Wu(六代舞) was created and became a representative ritual dance for the Zhou(周) Dynasty. The Liudai-Wu is a dance for an emperor who ruled the world, as well as being an unrivaled art form of the culturally superior Chinese Huaxia tribe, who ruled the central districts. From the Liudai-Wu, the < Yunmendajuan(雲門大卷) > of the Huangdi(黃帝),  of Shun(舜), < Daxia(大夏) > of Yu(禹), < Dahuo(大濩) > of Tang(湯), and < Dawu(大武) > of Wuwang(武王). This thesis paper will inspect the contents and form of the Liudaiwu, and furthermore, generally inspect how the Han(漢) Dynasty, Tang(唐) Dynasty, Song(宋) Dynasty, Yuan(元) Dynasty, Ming(明) Dynasty, and Qing(淸) Dynasty, have inherited the ritual music and dance. In addition, the Liudai-Wu, which was created by the lord, is a part of the 'Zhili-Zuoyue(制禮作樂)' Project, and by showing through the ancient dance art, China's contribution in the construction of a civilized country, it provides insight in understanding the music and dance culture of Korea, China, Japan, and going further, East Asia.

2<처용무>의 시대별 의미 변천 및 시원 추적 고(考)

저자 : 박은영 ( Park Eun-young )

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 43-69 (27 pages)

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This manuscript is a follow-up research from the author's previous study comparing < Chams > and < Cheoyongmu >. In this study, the origin of < Cheoyongmu > is investigated based on its historic changes in perception and its religious significance. The results of this study suggest that < Cheoyongmu > may have originated from Tibetan < Chams >. The author suggests striking similarities and common themes between the two dances to be the grounds for such finding. In the collective effort to elucidate the true origin of < Cheoyongmu >, this study will provide a reliable compass for subsequent researches.

3한국불교 작법무의 성격에 관한 분류

저자 : 한정미 ( Han Jung-mi )

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 71-111 (41 pages)

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The Buddhist ritual dance(Jakbeopmu) used in the Buddhist rituals could be classified largely into four kinds: Baramu(cymbals dance), Nabimu(butterfly dance), Beopgomu(drum dance), and Tajumu(stick dance). Among these, the drum dance has only one type, and the stick dance is done during the Shikdang-Jakbeob. Meanwhile, a variety of choreographies of the cymbals dance and the butterfly dance each have different characteristics. Therefore, this study is not about the metaphysical discussion on the Buddhist ritual dance. It is about classifying the Buddhist ritual dances on their characteristics according to the contents of the ritual texts concentrating on twenty-six Buddhist ritual dances, eight types of the cymbals dance and eighteen types of the butterfly dance.
As a result there were twenty-two types which could be categorized by its characteristics, three which are hard to conclude and need further discussions, and one et cetera. The Buddhist ritual dances could be sorted into the sanctuary ceremony, the enshrining ceremony, the devotion and worship ceremony, the offering ceremony, the sermon ceremony, the blessing ceremony, the praying ceremony, the purifying ceremony, and the clothes changing ceremony, nine catagories in all.
This research would elucidate the purpose and meanings of performing the Buddhist ritual dances to perform the three karma offerings; Buddhist chants as the verbal karma(口業), Buddhist ritual dances as the physical karma(身業), and the mental karma(意業). And furthermore will remind the value and significance of the Buddhist ritual dance as the performance carrying out the three karmas.

4티베트 참무에 대한 미학적 소고(小考) ―북인도 따시종 캄파카곰파를 통하여―

저자 : 윤소희 ( Yoon Sohee )

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 113-143 (31 pages)

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This study is the result of field work at the Khampagar Monastery which was founded by the 8th Kamtul Linpoche, who moved to Tashi jong near Himachal Pradesh in northern India to escape the Chinese communists. The temple compound belonged to the Duk school of Tibetan Buddhism's Kagyu order in 1969. Before this study I researched the Cham ritual of labulengsi in Shaher China, and the Hemis Gompa in Ladak, northern India. The Labulengsi ritual was held on one day, while that of the Hemis lasted two. Those were insufficient to my research because Labulengsi was influenced by Chinese culture, while Hemis was shortened and altered for foreigner viewers. However, the Khampagar gompa ritual is held over 7days and so showcases a variety of content.
The pattern of Khampagar Gompa's lama dancing was that the higher the level of superiority within the order was the character, the slower and more moderate the dance movement. So in particular the Bodhisattva guru's dancing was moderated and less vital. Meanwhile, the movements of the gate master of the graveyard or the demons were quick and highly expressive of the ritual storytelling. Among all the Lama dances of the Khampagar monastery, the most outstanding was the Shanak (the "black hat" dance). Sometimes the movements were very strong, utilizing straight feet actions; at other times it was smooth and elegant. The motions of Shanak dancing differed according to the ritual contents. I like to call it Dharmatic beauty as a Buddhist spiritual.
That beauty is exactly opposite to the performing art of western Christianity, which climaxes in high spirits whereas Buddhist Oriental culture pursues the beauty of moderation and stillness encompassing movements. Beautiful dance movements or skills are not as important to Tibetan Lama rituals as the delivery of the message of the ritual. This is because it is an ideal posture for regional dance rather than simply performance.
Comparing with the cymbals dancing of Korean Buddhist ritual and the court dancing of Cheoyongmu, the purpose and contents are closer to cymbals dancing to protect Buddhist Dharma and the field of the ritual place. However, the Tibetans use Dorje or skeleton symbols or other instruments as dance instruments. The cymbal is only used as a musical accompaniment. Today's Korean Cheoyong dance is different to the Tibetan lama dance but on the documents of Yongjaechonghwa which recorded the customs and folk stories of the Josun dynasty, it is said to share similarities with the goal of Nare; that is to drive out evil spirits in a masked, men's dance. I think it is necessary to research and establish the more clearly related matters between the Korean Buddhist ritual dance, the court dance Cheoyongmu, and the Tibetan lama dance.

5아시아 불교 의식무의 발생과 변이양상 ―티베트ㆍ몽골ㆍ한국ㆍ일본의 경우를 주로 살피며―

저자 : 윤광봉 ( Yoon Kwang-bong )

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 145-199 (55 pages)

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Tibet which is located just north of India and Nepal had learned Buddhism from those countries for a long time. It accepted Buddhism and worshiped Buddha the same as a mystical living god of Bön, their local religion. Tibetan Buddhism spread to Bhutan, Nepal, Northern India, and Mongolia. Bhutan and the Yuan Dynasty of the early Mongolia accepted Tibetan Buddhism, Yellow Hats(黃敎), and built many lama shrines in the inner Mongolia. Cham, the ceremony to exorcise the evil spirits and pray for goodness, was held at the Lama Temple in Beijing of China too. This ceremony which the lama's chanting is in harmony with hymn is accompanied by instrumental performances. The music is played without exception on the religious festivals based on Tibetan lunar calendar system. The ceremony dance is about Bajirayani Buddhism and came from the southern India. It spread to Ladakh of Tibet, and is being performed so far. That was passed on to Mongolia and turned into Mongolian style, Fure Cham.
In the case of the Korea, various performances were carried out in Palgwanhui(八關會) of Goryeo, and Suryukjae(水陸齋) remains in existence in Joseon Dynasty. However, it disappeared eventually, and emerged in some temples including Yaksa-sa in the middle of the 20th century. Jakbeop-mu(作法舞), Korean Buddhist ceremony dance, consists of Bara-mu, Nabi-mu, Peopko-mu, and Taju-mu. Bara-mu is made up of seven kinds of dancing such as Yojap-bara, Kwanyokke-bara, Hwauijejineon-bara, Myeong-bara, Nerimgae-bara, Cheonsu-bara, and Satarani-bara. Peopko-mu(法鼓舞) is processed four times in the same form. Taju-mu(打柱舞) is repeated between each song for offerings when a eating ritual(食堂作法) is going on.
In the case of Japan, there are Ennen(延年) and Jusa-jakbeop(走師作法), and they have the same object even though their methods are different. The best part of Ennen which is performed in the event, Yumahui(維摩會), is the humorous catechism by monks. It is a discussion about Yumakyeong(維摩經). The monks make people laugh with witty question and answer, and it develops into so-called pungryu(風流). The chanting and the debate of Yumahui which are recited like shomyo(聲明) with rich melodies became the monks' Jakbeop.
Tibetan Buddhism shows the appearance of various gods in Buddhist temples. On the other hand, in Japan the appearance of various gods can be seen in Kagura held at Japanese shrines rather than Buddhist temples.

6근대 일본에서의 서양음악의 수용과 전개

저자 : 전인평

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 201-230 (30 pages)

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日本で近代音樂敎育を初めて開始したのは、音樂取調掛である。外國人敎師に入ってきたルドルフ·ディ一トリッヒ(R.Dittrich)とドイツ人エッケガルト(F.Eckert)とオ一ストリアの人ルドルフ·ディ一トリッヒの支援を受けて東西音樂を折衷した新しい音樂創造を目指し、東西の音樂を折衷した音樂の作曲、將來の日本の音樂界を導いて行く人物の養成することに目標を定めた。この音樂取調掛は1887年、東京音樂學校に改編され、その翌年初代校長に移動し、修二が任命された。東京音樂學校の開校式とき山瀨ショウである(山勢松韻)作曲のそうきょく(箏曲)、「都城日>(都の春)が演奏された。これらの開校當時の演奏狀況に示すように、この時期には、東京音樂學校が西洋音樂一邊倒ではなかったことを知ることができる。日本で西洋音樂中心の敎育を實施したのは、取締役と修二が東京音樂學校の校長を退任した後のことだった。
日本の近代音樂は西歐の近代音樂を收容して變化させる時期であった。このような過程で傳統音樂は、捨てるべき文化と考えている場合を犯した。西洋音樂界は民俗音樂を硏究發掘し、芸術音樂の創作素材として活用して、今日も愛好される芸術音樂を作成したものと比較すると非常に殘念なことである。

7일제의 기생 장악 음모와 기생 이미지 왜곡

저자 : 신태영 ( Shin Tae-young )

발행기관 : 한국예술종합학교 세계민족무용연구소 간행물 : 민족무용 22권 0호 발행 연도 : 2018 페이지 : pp. 231-263 (33 pages)

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Korea's modern days have reached a point where Japan's malicious and organized interference has left it unable to blossom properly, distorted and deformed, and a court dance was no exception.
The Japanese Empire tried to implement the state-regulated prostitution in Joseon for the Japanese and Japanese soldiers who lived in Joseon. However, there were no prostitutes in the Joseon Dynasty. The Japanese Empire allowed all people who wanted to sell entertainment to increase the number of prostitutes to register as prostitutes, except for Gisaeng. And through the Gisaeng schools of Ki Sung-kwon-bon, Pyongyang, Gisaeng were mass produced and spread throughout the Joseon Dynasty.
There were many Japanese or ethnic traitors behind the Gisaeng union and Kwonburn, and their fate was ruled by the Japanese police. In the name of preventing venereal disease and improving the custom, the Japanese Empire collected information on Gisaeng through Kwonburn, ferreting out Koreans who did not cooperate with the Japanese Empire, and collected huge taxes. Meanwhile, Japanese night culture spread rapidly due to the Kwonburn, restaurants and parasites working there. And so the spirit of the Joseon people was disturbed. The aftermath continues to this day.
Japanese imperialists promoted gisaeng to a representative female statue of Joseon through postcards, photo albums, and public gatherings. And the image of Joseon was imprinted as a parasite. The image of the gisaeng that Japan manipulated was so negative that Joseon's image was recognized as a passive and weak sexual object. The image that Japan manipulated was repeatedly exposed to Koreans, and as a result even the Joseon people perceived Joseon as a shameful existence.

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동국대학교 국민대학교 서울대학교 단국대학교 한국문화예술위원회 아르코예술기록원
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  • 9 서울보훈병원(중앙보훈병원) (1건)

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