전통춤 기술(記述)의 논리와 체계적 범주

Abstract

The discussion revolves around how to eliminate the confusion between the category and the system, which one would encounter in an attempt to elucidate the form of traditional dance and to clearly understand it. The category and system of the form of dance should be primarily set by determining what perspective should be taken in viewing forms: in other words, it should start by determining whether to focus on general ideas of dance based on the scientific analysis, or to focus on uniqueness by accentuating the phenomenon and the perception. Furthermore, it is necessary to establish the concept of form in accordance with the endorsed perspective. For instance, whether form should be viewed in relation with the arrangement of elements or viewed in terms of the delivery of information. The logic to be secured in a different dimension relates to the structure, principles of the form of traditional dance form and its efforts (effort, emotional curve of tension and relaxation) and principles. It is the system and category of traditional dance that could be placed in the right position in this very process. The discussion groups and arranges the above three items in different descriptive logics 1, 2 and 3 and the key direction can be summarized as three ideas. Firstly, the starting point of the discourse around the form of dance lies not in the concept but in the phenomenon of dancing itself, and the subject matter produced by it turns into the center of the discussion. In this vein, by critically embracing the phenomenology of art, it sees the form of traditional dance not as an isolated phenomenon devoid of the life and the history but one that bears history while suggesting the concept of form, contents, and linguistic characteristics and thematic sentiments. Secondly, by understanding the form of traditional dance as the emotional matters organized by successive form principles, the discussion largely categorizes it into the principles of the structure system, principle and the efforts principle. It also clarifies the concepts of cross-stitched seam structure, Maru structure and tying and untying structure, and elucidates the principle of it by examining effort. Thirdly, it is to represent by establishing category and system in a concrete manner by summing up the aforementioned two and it is also linked with the previous discussion that searched for the category and system in the context of linguistics. In the end, describing traditional dance is an interpretation inquiring the meaning and an aesthetic approach to asking for values. However, if the logic underpinning the description fails to have a firm basis, the meaning and value would be rendered meaningless.