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논문 상세정보

식민지조선의 신무용과 근대적 예술 개념의 수용

Modern Dance of Colonial Chosun and Acceptance of Modern Art Concept

사회와역사(구 한국사회사학회논문집) no.112 , 2016년, pp.199 - 240  
이진아
초록

The purpose of this study is to review how the concept of ‘modern art’ came to be interpreted through modern dance of colonial Chosun in the context of the Sociology of Art. I researched how modern dancers of colonial Chosun came to regard the concept of Western art as it traveled through Japan to Korea. I was particularly interested in objective cases of dance performance and how such performances historically influenced the establishment of modern dance. The Japanese dance world established Japan-style modern dance through autonomously acceptance of Western classic ballet and modern dance. They modernized their traditional dance, while the traditional dance of Chosun modernized through influences of Japan-style modern dance, as opposed to direct acceptance of Western dance. Since the 1920s, the artistic task of colonial modern dancers, such as Bae Gu Ja, Choi Seung Hee, and Joe Taek Won (leaders of modern dance), aimed to orient Japan-style modern dance as modern works of art, while internally differentiating modern dance from Gisaeng (Korean geisha) performances at the same time. They intended to express Chosun-style traditional dance within the frame of modern dance. In relationship with Ishii Baku, regarded as Japan’s pioneer of modern dance, these traditional dances were recognized as modern forms of art within the artistic venue of colony and empire. In detailing this arduous endeavor, this research also carefully considers the conceptualization of modern arts including artists, work, ownership, style, private research institute, apprenticeship lesson, dance genealogy, paid performance, media criticism and sponsorship relations, all of which have their beginnings in the development of modern dance during the Chosun Era. By conducting research of this context, this study revealed important aspects on how a concept first employed in Europe in the mid-18th century came to be accepted during colonial Chosun by way of external origins through modern dance.

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