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논문 기본 정보

자료유형
학술저널
저자정보
이주영 (대구가톨릭대학교)
저널정보
한국무용교육학회 한국무용교육학회지 한국무용교육학회지 제31권 제3호
발행연도
2020.1
수록면
129 - 143 (15page)

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초록· 키워드

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In the past, the media were just perceived the innovative technology that could make individuals’ lives more convenient and abundant. Now, the media are creating, connecting, and converging everything in the world, which means transcending the principle of technology and capital that has been developed by humans’ labor. The media are involved in everything of the world from the national level to the individuals’ daily level. The media are showing the remarkable growth to meet humans’ instinct to pursue the quickness and convenience. In the recent world of daily life, the phenomenon of snack culture is noticeably shown. With the explosive public popularity of webtoons and web-dramas based on the mass media, various media platforms such as YouTube, Netflix, and Instagram have been formed, and also the culture & arts-related contents suitable for the characteristics of media and users’ needs have been newly formed. The core of snack culture is the occurrence of production and consumption at a rapid pace with no boundary of roles. Also, the participation and sharing are occurred promptly. Because there are no limitations on place, time, and language of this phenomenon, everyone who has a communication device in the whole world could enjoy the snack culture in the horizontal relationships, and the access and out could be done according to users’ active attitude. The street dance could elaborately expresses various musics and rhythms with each joint and muscle of body by pursuing the active revelation of oneself through free and individual movements. Also, as a dance culture originated from street, the dance could be shown anytime and anywhere such as park, club, square, school, auditorium, and theater, so that it could be viewed and participated by everyone as well. The street dance that has been developed targeting the unspecified public was hard to obtain the objective evaluation due to its characteristics like placeness and movement, and the scale or standard was also ambiguous. Thus, it was the most important to draw the active responses, needs, and cheers from the public, to exchange the energy together, and to enjoy together. In other words, how much the public enjoys, cheers, and recognizes the diversity through the process of communicating and exchanging through dance is the cultural essence of street dance and also the value of community(street scene). This street dance is settled down as important pop-cult contents in the phenomenon of snack culture based on the progress of new media. Especially, the application TikTok that is accessed by 100 million people is the representative snack culture video platform, actively utilizing various movements of street dance including K-pop dance. As a participatory culture that could be enjoyed with anyone, anytime and anywhere, the street dance is an arts in dance. mixed with the artistic characteristics that could fully show the freedom, openness, and creativity. The street dance aims to enjoy and feel the happiness and well-being through the development and transformation into snack performance, and also to express individual uniqueness through dance. In other words, the street dance as snack performance does not pursue the external expression of body or techniques with no messages. The essence of street dance that should be expanded through building relations and sharing instead of unidirectional performance becomes the media as it is. Just as the arts is not the exclusive property of artists, the snack performance formed through the collaborative process between street dance and media, is creating the synergy effects through the convergent promotion, beyond the dichotomous perspective on technology and arts. Also, the complementary action is giving various cultural phenomena and new artistic values, and designing the look of meaningful life through the sincerity. The street dance is standing on the turning point of underlying perception of the roles and nature of dance arts, media, and the public.
#스트릿 댄스 #스낵 컬쳐 #스낵 퍼포먼스 #힙합 댄스 #뉴 미디어 #유동성

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참고문헌 (14)

참고문헌 신청
김현숙 / 2018 / 스낵 영상 콘텐츠의 표현 방식 / 애니메이션연구 14(3):234~249 dbpia 김현숙 / 2019 / 스낵 영상의 영상 문법 google schola 김현진 / 2018 / 트랜스미디어 환경에서 케이팝(K-Pop)콘텐츠의 참여적 이용에 관한 연구 : 유튜브 콘텐츠 SNA를 중심으로 google schola 박수연 / 2018 / 뉴미디어 공간에서 재매개의 표현특성에 관한 연구 dbpia 신별 / 2005 / 디지털 미디어와 인간신체의 위상변화 / 한국HCI학회. 한국HCI학회 학술대회 :1757~1762 dbpia

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