한국근대춤사에 있어서 황무봉의 예술적 업적

Abstract

The research scope of any studies on the history of Korean modern dance has been mainly dealing with only either how the Korean modern dance had been created in the first place or how this dance was developed during the Japanese colonial era. In spite of this lack of references, the very much clear research subject and purpose as well efficiently lead the researcher of this study to get oneself confidently committed to what one is going to look into. In addition, since the 1980’s when the Korean creative dance started to officially gain attention, a great deal of theses on the topic have been published. However, relatively, we can hardly find these researches on senior dancers, in other words, the second-generation Korean modern dancers who performed in the field of dance after the liberation, even though they had built this practical foundation of today’s creation and education field. In the light of that, this study believes it necessary to conduct a thorough investigation on main ideas and details that would take care of these modern changes in the field of dance which had been re-organized after the liberation. In particular, the study also argues that any exclusive research on veteran dancers who were trying only passionately to improve the Korean creative dance through some artistic channels must be carried out from various angles on their lives, their beliefs in art and their educational methodologies as well. That being so, this study comes to consider Mu-bong Hwang not only the most valuable research subject but also the pioneer of the Korean creative dance. As Critic Tae-won Kim once said, Mu-bong Hwang ‘made a contribution to the reorganization of both the terms that would be used in the field of Korean dance and the training programs during the critical period between the eras of new dance and creative dance (2005, The Busan Ilbo)’. Hwang, consequently, succeeded in forming the foundation of education and methodologies of Korean creative dance. The testimony of Jun-yeong Song which was, ‘Among other dancers of his time, Hwang was the dancer who had the greatest number of teachers (2005, The Busan Ilbo)’, reminds us of how he organized the dance field through his students. The creative methodology which Hwang had developed by teaching the students is now helping the creation of the Korean modern dance, and this methodology consists of such diverse repertories. (In terms of Mu-bong Hwang sanjo, it was transformed and developed in many different titles depending on what is to be expressed). Not only that, the completion of the basic dance, the training system, showed the possibility of creation and education through Korean dance. Based on those ideas described above, this study reviews previous researches on Mu-bong Hwang and discusses his artistic achievements in order to re-organize the status of Korean modern dance.