중국 조선족 무용특징 연구

Abstract

This study analyzes the Korean-Chinese’s dancing with special reference to A Quick Manual of the Korean-Chinese’s Dancing, published in 2008 by Gillim Minjok Rogeum Rokhwa Publication. Based on the techniques and concepts for dancing analysis developed by Janet Adshead and three persons, this study analyzes the fan dance, Janggo dance, and Pyengo dance presented in the film in the methods of literature survey and video analysis. By analyzing and interpreting the whole elements surrounding the dance as well as basic motions, this study generally examines the characteristics of the Korean-Chinese’s dancing, and tries to provide basic data of the Korean-Chinese’s dancing as an overseas intangible cultural resource. The results of this study are as follows. First, as for basic components, the melodic structure of music, the use of space by moving round with quick steps, staccato movement, the posture of repose mainly with pauses are also seen from Peking Operas, in particular, the toe movement with toes stretched, a specific form that can be seen from Western ballet and Chinese dancing, contains the prevailing mainstream Mandarin colors. Also, the cyclic structure in which the flow of movements incessantly proceeds in terms of the use of traditional folksongs and rhythms, and repetition of tension and relax, and creation of lyric, cheerful, and optimistic images emphasize the ethnic colors of Koreans as a minority group, and hence show a form incorporating China’s and Korea’s cultures. Second, the dancing style incorporating Korean and Chinese cultures is result of the artistic achievements by Seung-hee Choe, who established Chinese dancing earlier, and can be taken to show that the Korean-Chinese’s dancing is a route to the identification of overseas Korean people’s colorful societies and cultural history.