컨텍스트(context) 다시 읽기 : 20세기 전반 한국 대중춤의 변천양상 연구
Re-reading a Contexts: A Socio-Cultural Analysis on the Process of Korean Popular Dance from 1900’s to 1950’s.
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The purpose of this study is to characterize the meanings and properties of popular dance in the sociocultural context by reviewing aspects of changes in the 20th century’s popular dance in Korea. Attention to the dance breathing together with ‘I’ within the current daily life, i.e. the popular dance that incessantly embodies active utterances within society and exists in the daily life will present a possibility to extend the horizon of the present and future texts of dance. This study is an attempt at re-writing the scholarship of dance by trying to study popular dance in connection with the discourses found within the sociocultural context and finding out meanings overlooked in history. This study is emphasizes a new kind of reading, which is different from the old method of reading. These days there is no single right answer in the cultural analysis, and it cannot be accepted that any opinion is valid. This study focused on readers to think about the contexts in which texts mean different things to different people at different times. According to this point of view, we ought to recognize that the word 'contexts' has been used in plural, which emphasizes that readers are not searching for one absolute meaning, but for many meanings in a text. The 20th century’s popular dance in Korea started with the movement by the general public who rejected the traditional feudal values through the modernization including the introduction of Western dance and foundation of theaters. Popular dance was re-distributed in the history of the body as a possibility of limitless variations while incessantly reproduced, practiced, and communicated. Especially, popular dance was rapidly spread through mass media as the dance formed with cities as its background was turned into group consciousness and fashion through events. The 20th century’s Korean popular dance reproduced its implications while it was incessantly oppressed and was resisting under political, social, cultural backgrounds. As the domain of art and entertainment started to be split and the general public’s dance became represented as a life style within the routine space, the Korean popular dance used to be realized as dancing gestures distinct from the dominant ideology in a given age on one hand, and to reconstruct the power through dancing styles on the other. Since the introduction of social dance in the 1920s, dance was realized in patterns that advocated cultivation or patriarchy under the certified power relation. The demand and increase of the number of dance halls in the 1930s and in the 1950s designated that dance functioned as an important liberated area and escape hatch for life of the general public in such a degree.
Abstract
The purpose of this study is to characterize the meanings and properties of popular dance in the sociocultural context by reviewing aspects of changes in the 20th century’s popular dance in Korea. Attention to the dance breathing together with ‘I’ within the current daily life, i.e. the popular dance that incessantly embodies active utterances within society and exists in the daily life will present a possibility to extend the horizon of the present and future texts of dance. This study is an attempt at re-writing the scholarship of dance by trying to study popular dance in connection with the discourses found within the sociocultural context and finding out meanings overlooked in history. This study is emphasizes a new kind of reading, which is different from the old method of reading. These days there is no single right answer in the cultural analysis, and it cannot be accepted that any opinion is valid. This study focused on readers to think about the contexts in which texts mean different things to different people at different times. According to this point of view, we ought to recognize that the word 'contexts' has been used in plural, which emphasizes that readers are not searching for one absolute meaning, but for many meanings in a text. The 20th century’s popular dance in Korea started with the movement by the general public who rejected the traditional feudal values through the modernization including the introduction of Western dance and foundation of theaters. Popular dance was re-distributed in the history of the body as a possibility of limitless variations while incessantly reproduced, practiced, and communicated. Especially, popular dance was rapidly spread through mass media as the dance formed with cities as its background was turned into group consciousness and fashion through events. The 20th century’s Korean popular dance reproduced its implications while it was incessantly oppressed and was resisting under political, social, cultural backgrounds. As the domain of art and entertainment started to be split and the general public’s dance became represented as a life style within the routine space, the Korean popular dance used to be realized as dancing gestures distinct from the dominant ideology in a given age on one hand, and to reconstruct the power through dancing styles on the other. Since the introduction of social dance in the 1920s, dance was realized in patterns that advocated cultivation or patriarchy under the certified power relation. The demand and increase of the number of dance halls in the 1930s and in the 1950s designated that dance functioned as an important liberated area and escape hatch for life of the general public in such a degree.
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