한국적 발레 심청을 통해 본 1980년대 문화정책 (Korean ballet Shimcheong through the 1980s, the flow of cultural policy)

서지정보

· 발행기관 : 한국스포츠학회
· 수록지 정보 : 한국스포츠학회 / 10권 / 4호 / 281 ~ 297페이지
· 저자명 : 제임스전, 양승하

초록

This paper investigates 1980’s Korea Ballet, which is remembered as the renaissance of Korean ballet history. Based on the cultural policies, it specifically focuses on 86 Asian Games and the Cultural and Art festival of 88 Olympics. These two international sports games provided a great opportunity for Korea to introduce themselves to the world. And it consequently brought a huge investment on art and cultural areas. With the analysis on the cultural policies of this time, we can figure out the backgrounds and reasons for the development of Korea Ballet. In the first section named as status of 1980’s Korean Culture-Sports policies, I want to examine the specific policies, which are relatively enlarged, due to the expansion of budget as a result of successes of national development plans. The characteristics of 1980’s cultural policies are as follow: (i) moving the cultural policies up Constitution level (ii) mid-long term plans on culture (iii) huge investment on it.
In the second section named as 86 Seoul Asian Games and the Cultural and Art festival of 88 Olympics, I investigate the preparations and shows for enhancing the prestige of Korea in the international events. There are various kinds of exhibitions and perfomances which inherit Korean traditional motives and materials. These memorable trials on cultural-art area boosted the pride of domestic people and provided the gist of Korean culture to foreigners. In the Third section named as <Sim Chung>, the representative work of 1980’s Korea Ballet, I examine Sim Chung perfomed by The Universal Ballet. It is invited for 86 Asian Games and 88 Olympics. Sim Chung is highly acclaimed at home and abroad and it is still performed. As a founding director, Adrienne Dellas choreographed it. The script was written by Yong Ku Park. The music was composed by Kevin Barber Pickard and Dong Sun Choi. And the costumes were designed by Sylvia Taalsohn. Unlike the previous creative ballets in Korea, it is a ballet in more than two acts and becomes the openings of Korean creative ballets. Domestically, it has given the pride to Korean by reminding the idea of filial duties and love. Internationally, it enhanced the name of Korea ballet and finally provided the firm base of Korean culture in the world. In summary, the characteristics of Korea Ballet in 1980 can be paraphrased as the globalization of Korean creative ballets with the domestic motives. I have investigated it in terms of the cultural policies in 1980s, particularly on 86 Seoul Asian Games and the Cultural and Art festivals of 88 Seoul Olympic.

영어초록

This paper investigates 1980’s Korea Ballet, which is remembered as the renaissance of Korean ballet history. Based on the cultural policies, it specifically focuses on 86 Asian Games and the Cultural and Art festival of 88 Olympics. These two international sports games provided a great opportunity for Korea to introduce themselves to the world. And it consequently brought a huge investment on art and cultural areas. With the analysis on the cultural policies of this time, we can figure out the backgrounds and reasons for the development of Korea Ballet. In the first section named as status of 1980’s Korean Culture-Sports policies, I want to examine the specific policies, which are relatively enlarged, due to the expansion of budget as a result of successes of national development plans. The characteristics of 1980’s cultural policies are as follow: (i) moving the cultural policies up Constitution level (ii) mid-long term plans on culture (iii) huge investment on it.
In the second section named as 86 Seoul Asian Games and the Cultural and Art festival of 88 Olympics, I investigate the preparations and shows for enhancing the prestige of Korea in the international events. There are various kinds of exhibitions and perfomances which inherit Korean traditional motives and materials. These memorable trials on cultural-art area boosted the pride of domestic people and provided the gist of Korean culture to foreigners. In the Third section named as <Sim Chung>, the representative work of 1980’s Korea Ballet, I examine Sim Chung perfomed by The Universal Ballet. It is invited for 86 Asian Games and 88 Olympics. Sim Chung is highly acclaimed at home and abroad and it is still performed. As a founding director, Adrienne Dellas choreographed it. The script was written by Yong Ku Park. The music was composed by Kevin Barber Pickard and Dong Sun Choi. And the costumes were designed by Sylvia Taalsohn. Unlike the previous creative ballets in Korea, it is a ballet in more than two acts and becomes the openings of Korean creative ballets. Domestically, it has given the pride to Korean by reminding the idea of filial duties and love. Internationally, it enhanced the name of Korea ballet and finally provided the firm base of Korean culture in the world. In summary, the characteristics of Korea Ballet in 1980 can be paraphrased as the globalization of Korean creative ballets with the domestic motives. I have investigated it in terms of the cultural policies in 1980s, particularly on 86 Seoul Asian Games and the Cultural and Art festivals of 88 Seoul Olympic.

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