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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.2
- 수록면
- 1,025 - 1,036 (12page)
- DOI
- 10.35159/kjss.2019.02.28.1.1025
이용수
초록· 키워드
오류제보하기
In Korean traditional dance, a critique belongs to the category of the criticism of the arts. A criticism of art is the critic’s artistic work and should suggest the right direction for the advancement of the arts. Dance notation hasn’t yet been generalized in Korean traditional dance, and dance movements have been passed down from generation to generation by words of mouth and imitation. It’s now necessary to make an effort to look into the oral statements of choreographers to find out how the origin of their philosophy has evolved and developed.
The purpose of this study was to take the first step to shed light on dancer Kim Keun-hee’s world of dance and artistic life to write a critical biography of the dancer. Academically, writing a critical biography of the Korean dancer Kim Keun-hee who dedicated her life to dancing only over approximately six decades is to prepare data on the history of Korean dance. Nationally, that is a primary way to hand down the intangible cultural asset. Her life and dance activities were analyzed in four different stages. One is a period where she created her works in freedom. Another is a period where she served as an art director at a dance company, and a third is a period where she worked as a professor at the college of the art of dancing. The fourth is a period after she was designated as a cultural asset. The persons concerned were interviewed to define her value and characteristics.
The purpose of this study was to take the first step to shed light on dancer Kim Keun-hee’s world of dance and artistic life to write a critical biography of the dancer. Academically, writing a critical biography of the Korean dancer Kim Keun-hee who dedicated her life to dancing only over approximately six decades is to prepare data on the history of Korean dance. Nationally, that is a primary way to hand down the intangible cultural asset. Her life and dance activities were analyzed in four different stages. One is a period where she created her works in freedom. Another is a period where she served as an art director at a dance company, and a third is a period where she worked as a professor at the college of the art of dancing. The fourth is a period after she was designated as a cultural asset. The persons concerned were interviewed to define her value and characteristics.
목차
Abstract
Ⅰ. 서론
Ⅱ. 평전의 의미
Ⅲ. 운정 김근희의 생애와 예술
Ⅳ. 결론 및 논의
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UCI(KEPA) : I410-ECN-0101-2019-692-000473355