한국의 “B-boy 댄스”에 나타난 청소년의 문화 담론특성 연구

Abstract

This study purposed to examine how hip hop culture, namely, ‘B-boy dance,’ which originated from the U.S. in the middle of diverse cultural streams, has been changed and formed cultural discourses in the Korean situation, and what characteristics the discourses composed of various enonces have. With regard to theoretical background, I suggested the basic line and view of cultural pluralism among various perspectives of popular culture as the present researcher’s basic position toward popular culture in multi-cultural society, and presented the understanding of popular culture in Korean situation and the general understanding of ‘B-boy dance’ in Korean culture. Then, I extracted basic common movements of B-boy dance from performances <The Marionette> and <A Ballerina Who Loves a B-boy> and analyzed the characteristics through structural approach, and examined how the characteristics of B-boy dance contributed to formation into characteristics discourses. Then, the characteristics of ‘B-boy dance’ in Korea and cultural characteristics implied Korean B-boy dance were suggested. In addition, based on the results of this study on B-boy dance, I suggested the direction of cultural education for adolescents using dance. This study was conducted through literature review using art-related books, magazines and Internet sites, and phenomenological analysis of multimedia materials including <A Ballerina Who Loves a B-boy> and <The Marionette>. The results of this study are the characteristics of the discourses as follows. First, as to the characteristics of physical movements, B-boy dance is the expression of motions for overcoming physical limitations. Second, B-boy dance is a ground for experiencing the conflict, overturn and absence of authority. Third, B-boy dance is a ground for experiencing the borderlessness of culture. Considering that hip hop is a hybrid product combined with technology and a new genre born of the fusion of cultural elements including various types of music and genres, the acceptance of American hip hop dance does not make any distinction. If I have to mention a difference, however, while American B-boy dance is generally based on hip hop music inclined to rap music in the unique socio-cultural background of African-Americans, Korean B-boy dance, though originating from American culture, is not limited to the tone of rap or rapper but adds the tone of Hwang Byeong-gi’s <The Labyrinth> or expands the orality of hip hop music to narrative orality and forms a story line of a drama. This is also the reason that stylish flexible moves flowing continuously and showing strong efforts are observed throughout <The Marionette>. In addition, basic postures taken by the body and vitality emitted from the body in B-boy dance are motions symbolizing adolescents’ resistance and function as the mechanism of deviation. In B-boy dance, the muscular strength of the arms is one of essential conditions for displaying various techniques. Through enthusiasm for dance and severe training for over eight hours a day, Korean B-boys overcome physical limitations in sustaining the body with their arms. Their energetic motions and pursuit for ‘physicality’ mean resistance to spiritualism, which has long been in the dominant position. B-boy dance provides adolescents with symbolic resistance created by the social signifier of body, and it functions as experience exchanged throughout the world.