Earticle

According to the viewpoint of sociology of art, which emphasizes that the understanding of cultural texts requires sufficient consideration of the social environment, this study aimed to discuss the reality of the crisis of dance criticism in Korea. For this purpose, this study explored the past and present of Korean dance criticism in terms of cultural production and consumption. In this regard, this study argued that Korean dance critics, who had focused on the production of critical texts, should pay attention to the demand for critical texts. This means that the Korean dance world should respond to new environmental changes such as the expansion of online performances.

The purpose of this study was to analyze ballet movement, Retiré qualitatively regarding a biomechanical and anatomical perspective. The key findings are as follows. First, the mechanical principles of the Retiré were analyzed and the movement of Retiré were divided into five stages. It was also confirmed that ballet teachers should observe the Retiré movement in both the frontal plane and sagittal plane. Second, from an anatomical point of view, the type of muscle used in Retiré is specifically presented. It emphasized the importance of the quadriceps, adductor group, gluteus, and hamstring muscles. In particular, this study suggests that the turnout and duration of the Retiré can be increased depending on the degree of training of the medius and the minimus of gluteus.

Dance with musical-instruments shows that dance and music are combined in dance with musical-instruments. We can discuss about the border of dance and music and examine the total performing art work through it. There are about 20 dances with musical-instruments in Korea. These dances can be recognised whether instruments-playing one or not. Most of them play percussion instruments and only 2 pieces – which are not playing the instruments – use wind instruments. It shows that dance and music are combined by rhythm. And the not-playing–instruments dance implying that musical-instruments could be used as symbols in dance. As a result, the dance with musical-instruments clearly shows that dance encompasses body movement, music and narration. Actually, it is the concept of Ak(樂, gaku in Japanese and yue in Chinese).

Future education needs to be the one available for feeling, and expressing freely. The body can grow through affirming my own feelings and desires. Rather than detecting common sense and universality, the education is needed that liberates oneself from being tamed into standardization by seeking difference and specificity. The background of whole-person education corresponds to the art education that helps to be creative from self-awareness by expressing body & movement and by having self-awareness ability available for observing own thought and mind. In the education of understanding and experiencing the body as a house where the senses live, own recognition, creativity and imagination become a root as the whole-rounded education to all the artists and all the general people as well as dance. This study was considered the necessity and vision of the dance art education through community dance with the application of a body education program in ‘Sensory Resuscitation Technique’.