Conclusion For the reasons stated above, a comparative study of how two of successors educated and instructed equally form a master, Han Sung Jun developed and succeeded Tae-pyong -mu would be considered that two successor's styles are not followed an old tradition blindly, but a kind of tonic antic...
Conclusion For the reasons stated above, a comparative study of how two of successors educated and instructed equally form a master, Han Sung Jun developed and succeeded Tae-pyong -mu would be considered that two successor's styles are not followed an old tradition blindly, but a kind of tonic anticipating an active will and for a new historic development. Recognizing and anticipating a change of dance according to the trend of the times ever since the creation of Tae-pyong-mu would better go through recreation and re-discovery desirably. getting a support and adaptation in experiencing a filtering process of adoption or rejection for a long period of time rather than having an meaning of just a transmission. In this view, it is not easy to find a dance like Tae-pyong-mu, which has remained its own situation through an eternal flow of history, I as a member of Korean dancers, settled the comparative study, recognizing its artistic value. It is, that it to say, because artistic and scientific value would be able to be confirmed, if being faced with of looked into it. A comparative study of Tae-pyong-mu can get the bottom-line like below. First, Tae-pyong-mu was originated from folklore, Pal-kwan-hoe and private creation, it praying for a nation's peaceful reign. and created as a dance for nation-wide wishes as well as private desires. Second, in the analysis of two successors, Tae-pyong-mu succeeded from an origin of Han Sung Jun can be classified into a style of Han Young Suk and a style of Kang Sun Young, and two successors have opened up their own artistic field and concentrated on succeeding to the dance upon their honor. Third, in the analysis of Tae-Pyong-mu's trends, pursues a moderate, spiritual and lonely dance, while Kang Sun Young pursues a graceful and loud dance with large scale movement. Fourth, on comparison with formation, movement, length and dress which are divided into according to the form of Tae-Pyoug-mu, a style of Han Young Suk has a sharp footwork, straightforward angle of arms' movement and neat beauty rather than loud one. And a style of Kang Sun Young has features that along with a speedy rhythm, its movement is a large-scale, the dance pursues a lyrical beauty, its finish is clear and dresses are splendid. Fifth. Tae-Pyong-mu has a meaningful unit of a dance mainly in step. A style of Han Young Suk uses lots of foot's movement and is feminized, while a style of Kang Sun Young used basically arms' motions. Sixth, the basic rhythm of Tae-pyong-mu is based on Jinsoe melody in Kyonggi area, consists of Nagkung, Teobollim and Dosalpuri. And common rhythms between two successors are Nagkung and Dosalpuri's Olimche, esecially Pusal rhythm and Bongdongche could be found in a style of Han Young Suk. A style of Kang Sun Young has verious changes in Olimche and Teobollim. Seventh, in treands of dress, a style of Han Young Suk simply gets a deep blue skirt, cotton-coiffure and dance with those costumes, while a style of Kang Sun Young gets a formal clothes and its undergarment are pink Dangui, white Wonsam, red underskirt and deep blue skirt with a red hem and dance with those costumes. Finally as a results of the study on Tae-Pyong-mu, a style of Han Young suk has features of a clear line and foot's motion without dispersion, while a style of Kang Sun Young is dynamic and powerful also has well-organized movements. Consequently, assuming the origin of creation of Tae-Pyong-me is so difficult, but continuously having been handed down and self-developed, its value was accepted formly, so Tae-Pyong-me stood high above others as a dance performed by many dancers and it was grandly ranked as a folk dance. On looking into the content of the comparative study, with a necessity to be studied, hopefully I wish that more studies of Tae-pyong-mu about its rhythm, meaningful units of the dance and costumes are able to contribute to junior scholars' studies, more specifically, a study of a style of Han Young Suk needs to be constructed immediately.
Conclusion For the reasons stated above, a comparative study of how two of successors educated and instructed equally form a master, Han Sung Jun developed and succeeded Tae-pyong -mu would be considered that two successor's styles are not followed an old tradition blindly, but a kind of tonic anticipating an active will and for a new historic development. Recognizing and anticipating a change of dance according to the trend of the times ever since the creation of Tae-pyong-mu would better go through recreation and re-discovery desirably. getting a support and adaptation in experiencing a filtering process of adoption or rejection for a long period of time rather than having an meaning of just a transmission. In this view, it is not easy to find a dance like Tae-pyong-mu, which has remained its own situation through an eternal flow of history, I as a member of Korean dancers, settled the comparative study, recognizing its artistic value. It is, that it to say, because artistic and scientific value would be able to be confirmed, if being faced with of looked into it. A comparative study of Tae-pyong-mu can get the bottom-line like below. First, Tae-pyong-mu was originated from folklore, Pal-kwan-hoe and private creation, it praying for a nation's peaceful reign. and created as a dance for nation-wide wishes as well as private desires. Second, in the analysis of two successors, Tae-pyong-mu succeeded from an origin of Han Sung Jun can be classified into a style of Han Young Suk and a style of Kang Sun Young, and two successors have opened up their own artistic field and concentrated on succeeding to the dance upon their honor. Third, in the analysis of Tae-Pyong-mu's trends, pursues a moderate, spiritual and lonely dance, while Kang Sun Young pursues a graceful and loud dance with large scale movement. Fourth, on comparison with formation, movement, length and dress which are divided into according to the form of Tae-Pyoug-mu, a style of Han Young Suk has a sharp footwork, straightforward angle of arms' movement and neat beauty rather than loud one. And a style of Kang Sun Young has features that along with a speedy rhythm, its movement is a large-scale, the dance pursues a lyrical beauty, its finish is clear and dresses are splendid. Fifth. Tae-Pyong-mu has a meaningful unit of a dance mainly in step. A style of Han Young Suk uses lots of foot's movement and is feminized, while a style of Kang Sun Young used basically arms' motions. Sixth, the basic rhythm of Tae-pyong-mu is based on Jinsoe melody in Kyonggi area, consists of Nagkung, Teobollim and Dosalpuri. And common rhythms between two successors are Nagkung and Dosalpuri's Olimche, esecially Pusal rhythm and Bongdongche could be found in a style of Han Young Suk. A style of Kang Sun Young has verious changes in Olimche and Teobollim. Seventh, in treands of dress, a style of Han Young Suk simply gets a deep blue skirt, cotton-coiffure and dance with those costumes, while a style of Kang Sun Young gets a formal clothes and its undergarment are pink Dangui, white Wonsam, red underskirt and deep blue skirt with a red hem and dance with those costumes. Finally as a results of the study on Tae-Pyong-mu, a style of Han Young suk has features of a clear line and foot's motion without dispersion, while a style of Kang Sun Young is dynamic and powerful also has well-organized movements. Consequently, assuming the origin of creation of Tae-Pyong-me is so difficult, but continuously having been handed down and self-developed, its value was accepted formly, so Tae-Pyong-me stood high above others as a dance performed by many dancers and it was grandly ranked as a folk dance. On looking into the content of the comparative study, with a necessity to be studied, hopefully I wish that more studies of Tae-pyong-mu about its rhythm, meaningful units of the dance and costumes are able to contribute to junior scholars' studies, more specifically, a study of a style of Han Young Suk needs to be constructed immediately.
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