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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
이주영 (대구가톨릭대학교)
저널정보
한국무용교육학회 한국무용교육학회지 한국무용교육학회지 제32권 제1호
발행연도
2021.1
수록면
155 - 169 (15page)

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초록· 키워드

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Street dance is a culture that actively solves one’s problem in the unique language of dance. It is a dance form that feels the convergence of life and arts through ‘body’, while recognizing and accepting cultural diversity and coexisting together. Black people, who were treated discriminatingly in American society, wanted to express ‘I’ as they are through street dancing transcending social status, religion, race, and institution, and to be recognized by the social members as subjective and reasonable being. Emotional support and open interchange relationships not only promote positive perception with others but also set us free. Street dance that recognizes the value of difference as individuality in the community with this horizontal relationship raises the atmosphere as the positions and roles of participants and observers are constantly overturned and switched. Street dance intends to make a subjective life through the changes from active practice, further from modern arts, which was regarded as physical and private through ‘pleasure’ that is sensual and arising from ‘body’. Street dance transforms the social and cultural perception that was treated as a competitive and ‘groundless’ culture into a daily experience as an arts, not resolving the cultural perception in a violent and inhumane way. The battle culture competing one’s skills through improvised movements, guerrilla street busking, etc. make people feel strange but vivid emotions through unpredictable events and situations, and provides an opportunity to change their daily lives into meaningful impressions. Street dance changes the daily lives to the basis of aesthetic experience and it is shared and spread through mutual intimacy with the public, not on a personal level. In addition, the role of observers who raise the atmosphere with active participation attitude in street dance is as important as the participants. They feel and express everything with an open sense, and show their impression to the participants (dancers) by using everything they can, including action, cheering, and making sounds. In other words, street dance strives to strengthen the mutual intimacy of recognizing cultural others and to lead the fast-changing trend of popular culture trends. Street dance is a self-expressive dancing culture while being related to others, and it pursues an empirical return to the everyday world from the art stuffed, being isolated from life in an art form. It restores one’s complete and unified aesthetic experience through subjective attitude. The practical aesthetic of street dance is to vividly revive the ‘body’ dimension, which is gradually being pushed to the back of civilization as being standardized and deepened diligence without self-reflection in modern society where speed is competitive, and to think one’s own existence by returning art to everyday life. Street dance is a symbol of a sensuous and changing life. In other words, the active practice of street dance is to correspond to the mobile street culture by throwing oneself into the world as a being potential in a changing world and it can be the reason for self-realization to achieve self-creation based on self-exploration.
#신체미학 #스트릿 댄스 #힙합문화 #실천적 미의식 #리처드 슈스터만

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참고문헌 (17)

참고문헌 신청
권택영 / 2010 / 몸의 물질성과 패러다임의 유형 / 인문학연구 (17):293~328 dbpia 노유성 / 2020 / 리좀개념으로 본 올드스쿨 힙합댄스의 문화적 특성 연구 google schola 박연숙 / 2006 / 듀이(J.Dewey)의 경험 미학과 예술 교호작용 google schola 백승영 / 2015 / 미적 쾌감의 정체-칸트와 니체- / 美學(미학) 81(3):169~198 dbpia 선봉란 / 2017 / 호모 디스컨텐트 / 북랩 google schola

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