한국무용 기록과 관련한 무용기호학의 정립 모색

Abstract

The records on the western dance have displayed a progressive progress through linguistic description, bar picture, embodiment of the visual drawings, use of musical notes and abstract symbols. By contrary, the dance records of Korea shows mixed type of elements that are emphasized by the documentative implications that the recorder regards important. Sure enough, there are limitations in conditions to record the transient and instantaneous art of dance and, in particular, to integrate the entire phenomena relating to movements in the form of abstract symbol systems by not ignoring the dynamic elements as much as possible. Nonetheless, the cases on various levels of records on the body movements are on the gradual rise. The acronyms or symbols for dance moves are increasingly understood as the symbolic language by combining the scientific approaches and adopting other symbolic systems other than the linguistic description on the movements. Recording a dance is not just the documentation of simple moves but an expression of concepts and characteristics on the phenomenon. It should analyze a series of creative incidents by perceiving the style of dances through symbolic codes of movements and offering knowledge of different concepts. To that end, the direction should be toward the new documentation method that can complement the issues on the phenomenon and cores of the dance, aspects on the structure of movements and even the aesthetic perception. The realization of the dance documentation as the comprehensive scenario implies that it makes it possible to analyze and understand the records on on-the-spot senses from dances and the artistic phenomenon of transition and multiple dimensions in a scientific and systematic way. This should be grounded on the thorough analysis on the dance art and full understanding on the movement itself. The academic perspective called Dance Semiology causes us to analyze the structure where diverse moves create and convey meaning, the structure between each move, the narrative structure for a dance with narratives, and the aesthetic structure of space such as the stage, and to understand the difference between the dance symbols and what such system is. In short, I believe the documentation can be further developed by the analytical perspective that regards the dance as the semiology. It is because it is certain that it will bring out easier definitions and understanding on the dance art as the creative source by confronting the rules and the universally-valid principles.