무용인식에서 노자의 <惚恍>과 상징의 관계 연구 - 감각과 기억의 관계를 기초로 -

Abstract

The purpose of this study was to investigate the processes and methods of dance perceptions. The premise of the study is that “The existence of dance starts from the substance of dance” along with a circular structure that “dance as a being” exists as a bridge to face “dance of actual existence.” The theme of the study presented this circular logic as the structure of dance perceptions and examined Lao-tzu's “Hu-huang” and “symbols” in intuition. The results of those examinations were as follows:⋅ In Lao-tzu's thinking, “Hu-huang” is the world of “nothing” and, at the same time,keeps changing and producing instead of staying in the “world of living creatures.” It is dance that exists as an object, being distinguished from dance that exists as a concept or image in dance perceptions. ⋅ “Hu-huang” is produced only after “existent dance” disappears and is sensory data that can be readily perceivable in a first-hand meeting in intuitive perceptions. ⋅ In dance perceptions, the senses are to perceive the substance of “Hu-huang,” and intuition by memory is to perceive the nature and characteristics of “Hu-huang.”⋅ The nature of “dance that is Hu-huang” is not being consistent, staying, or eternal. ⋅ The nature of symbols perceived as memories in dance perceptions is vague and has implications, being characterized as unconscious, unintentional, and spontaneous.