진도북춤에 발현된 타고사위의 구조 분석- 화이부동과 위이불범의 관점을 중심으로 (Structure analysis of the drum-beating-motion manifested in jindo-drum-dance -From the perspective of ‘harmonious but not identical’ and ‘free but not guilty’)

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 28권 / 3호 / 119 ~ 135페이지
· 저자명 : 이용희

초록

This research seeks to examine the structure analysis manifested in the drumbeating- motion of Jindo-drum-dance focusing on the rhythmic wavelength. In order to do so, through the harmony between freedom and moderation inherent in‘harmonious but not identical’and‘free but not guilty’, the aesthetic principle of Jindo-drum-dance, each elements form a complementary relationship that seeks for coexistence and harmony by the logic of diversity and differentiation.
Usually in the first rhythm of Jindo-drum-dance there is a strong motion that makes the drum’s wavelength to go up to the peak, from the middle rhythm there are changes in speed and composition of musical instruments that lead to diverse waveshapes. Each rhythmic play wavelength used in Jindo-drum-dance comes from irregular beating, difference in strength, repetition of rhythm and other factors make each different sound structures which leads to diverse waveshapes.
Hence, the visual and auditory drum-beating-motion performed by the dancer makes the viewers, including the dancer, experience the world of fun, justifying the correspondence.
Thus, in the drum-beating-motion, the visual expression shown by the musical instrument and the upper body dance motions create an emotion of sound, and through the world that is created by the unification of visual and auditory senses the dancer can be seen as making one’s own impromptu world. The Jindo-drum-dance’s unique and creative aesthetic sense is in the harmony between‘harmonious but not identical’and‘free but not guilty’that induces both individuality and totality. Thus, the drum-beating-motion that has manifested a complementary relationship inside the spirit of‘harmonious but not identical’and‘free but not guilty’enables the dancer and the viewer to communicate and maximize themselves as a subject of the fun.

영어초록

This research seeks to examine the structure analysis manifested in the drumbeating- motion of Jindo-drum-dance focusing on the rhythmic wavelength. In order to do so, through the harmony between freedom and moderation inherent in‘harmonious but not identical’and‘free but not guilty’, the aesthetic principle of Jindo-drum-dance, each elements form a complementary relationship that seeks for coexistence and harmony by the logic of diversity and differentiation.
Usually in the first rhythm of Jindo-drum-dance there is a strong motion that makes the drum’s wavelength to go up to the peak, from the middle rhythm there are changes in speed and composition of musical instruments that lead to diverse waveshapes. Each rhythmic play wavelength used in Jindo-drum-dance comes from irregular beating, difference in strength, repetition of rhythm and other factors make each different sound structures which leads to diverse waveshapes.
Hence, the visual and auditory drum-beating-motion performed by the dancer makes the viewers, including the dancer, experience the world of fun, justifying the correspondence.
Thus, in the drum-beating-motion, the visual expression shown by the musical instrument and the upper body dance motions create an emotion of sound, and through the world that is created by the unification of visual and auditory senses the dancer can be seen as making one’s own impromptu world. The Jindo-drum-dance’s unique and creative aesthetic sense is in the harmony between‘harmonious but not identical’and‘free but not guilty’that induces both individuality and totality. Thus, the drum-beating-motion that has manifested a complementary relationship inside the spirit of‘harmonious but not identical’and‘free but not guilty’enables the dancer and the viewer to communicate and maximize themselves as a subject of the fun.

참고자료

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