Earticle

초록

영어

It is a known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.

목차

Ⅰ. My Act of Embodied Representation
Ⅱ. “Homogenized Heterogenity”
Ⅲ. A New Dance Renaissance
Ⅳ. Fashioning the Korean Body (Street Fashion asNational Dress)
V. Conclusion/Summary/Abstract
1. The Hallyu Look, Defined
2. Hallyu Resonances
References
Abstract

키워드

저자

• Michael Hurt [ Dr. Michael Hurt lectures in Visual Sociology and Marketing at DGIST, and a lecturer at K-ARTS ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  무용과 이론 [Dance and Theory]

• 간기

  반년간

• pISSN

  2713-7678

• 수록기간

  2020~2026

• 십진분류

  KDC 685 DDC 792