근대 무도의 열풍, 긍정과 부정의 미학

Abstract

Before the New Dance emerged by Ishii Baku in the history of Korean modern dance, the advent of dance called Domu(1905) or Mudo(1909) is specially significant in the light that the foreign Western dance was introduced into Korea for the first time. Mudo penetrated rapidly into the general public as Kim Dong-han's Art Academy and Lee Byeong-sam's Gumi Dance Institute were established. The spreading of Modern Mudo was accelerated by the Korean performance of Haesamwui Juvenile Musical Company held in 1921. Since that, Mudo spread out throughout the country, and Mudo contests were held in the individual cities. As Mudo had popular vogue, the current intellectuals bitterly argued each other on its positiveness and negativeness in 1920s. While there were some supporting arguments in favor of Mudo that it was required to encourage health care, feminism and enlightenment campaign, the Social Dance Restriction Act was promulgated in 1926 and some Mudo performances were canceled, leading to dull atmosphere created in the dancing world. Mudo is meaningful in the light of its advent before the New Dance emerged, the initial introduction of foreign dance, and accepting actively the modernism of dancing with feminism and illuminism.