한국춤에 나타난 생태여성주의(eco-feminism) 성향연구 (A Study of Eco-feminism in Korean Dance)

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 13권 / 2호 / 69 ~ 90페이지
· 저자명 : 유미희

초록

This study looks at the dance with the view point of eco-feminism, which combining the ecoloigcla and feministic viewpoints. In Chaper 2, this study shows the concept of eco-feminism, spirituality smelted in the concept, and the relationship between the spirituality and the body. Chapter 3 provides the inclination of eco-feminism revealed in dances in a concrete way. Focusing on Korean traditional dances, shaman dance and mask dance, in addition to Korean creative dances choreographed between 1970s and 1990s, this study examines the aspects of spirituality, represented in the themes and the characteristics of the movement. Finally this study makes reveals the essence of dance, represented by Korean traditional dances and creative dances.
Eco-feminism, which began to reevaluate the values of feminine nature, focusing on the difference between men and women, rather than the equality between the two genders within the frame of male made thoughts and systems, have been pursuing spirituality, emphasizing mutality among female deity worship, gaia, body, and natural cycle. This concept is based on the idea that only after feminine value is achieved, nature liberation as well as feminine liberation is possible, and the movements of dance is a chance of conforming this in the concrete.
Baridegi[Abandoned child] song in shaman dance shows the possiblity of the alteration in the actual status and roles of the feminine diety and the shaman, as well as teh power to perform it. With the existential result of getting moral sublimation and the power of overcoming death with filial piety, finally losing its power and becoming the female diety managing death, Baridegi has the characteristic of 'the great goddess' representing the feminine power, achieving self-liberartion through her own death, not self-affection, and getting self-surmounting through hardships and self-discipline, going beyond controlling fecunidity of the earth. This is to say, recovering moral inferiority and social powerlessness, given to women in real world, it has the intention of getting moral superiority and social authority even in the mythical world. Various dances of the male and female shamans after the narrative shaman songs, describe the transforming process in which the victim in the patriarchal system becomes a victor through the tragic experiences and the recovering process, the female diety undergo. This reminds and projects the original form of the great goddess, getting out of the attachment to the female character in the patriarchal system as the latent cultural symbol. One of our traditional dances, shaman dance and mask dance, having the performance format of our own, exercises the power controlling both the living and the death world, by means of connecting this world and the next world, and the god and the man in the sense of unity developed between the audiences and the performers, hereby solving human being's dicords and desires. This is also revealed in dances performed in the theater. Creative dances after 1970s emphasize the principles of feminine culture, naturehood and motherhood, concentrating on the subjects of real world. <Living as a Wild Flower in This Land:1985> by Bae Jeong-hye, by Mun Il-ji, <Wooden Stele: 1992> by Im Hak-seon, express Korean women's peculiar experiences, accusing women's hard lives. <Spring: 1995> and <Mekkot: 1996> by Gim Hyeon-ja, <Ryu-The Wood of Life: 1997> by Gang Mi-ri, <Black Songs of a White Bird: 1991> by Im Hak-seon, <Oh! Mom Laughs: 1996> by Yoen Dok-Gyeong, and <Gongmudohaga["My Lord Not Cross the River" Song]: 1998> by Kim Myong-suk present spiritual values, such as positive understanding and caring of female body, healing, and motherhood, as alternatives to escape from the social and environmental crises.
The study on Korean dance in the perspective of eco-feminism in very useful to analyze the social role of the dance, a cultural phenomenon, and has the meaning in representing various viewpoints in studying Korean dance history.

영어초록

This study looks at the dance with the view point of eco-feminism, which combining the ecoloigcla and feministic viewpoints. In Chaper 2, this study shows the concept of eco-feminism, spirituality smelted in the concept, and the relationship between the spirituality and the body. Chapter 3 provides the inclination of eco-feminism revealed in dances in a concrete way. Focusing on Korean traditional dances, shaman dance and mask dance, in addition to Korean creative dances choreographed between 1970s and 1990s, this study examines the aspects of spirituality, represented in the themes and the characteristics of the movement. Finally this study makes reveals the essence of dance, represented by Korean traditional dances and creative dances.
Eco-feminism, which began to reevaluate the values of feminine nature, focusing on the difference between men and women, rather than the equality between the two genders within the frame of male made thoughts and systems, have been pursuing spirituality, emphasizing mutality among female deity worship, gaia, body, and natural cycle. This concept is based on the idea that only after feminine value is achieved, nature liberation as well as feminine liberation is possible, and the movements of dance is a chance of conforming this in the concrete.
Baridegi[Abandoned child] song in shaman dance shows the possiblity of the alteration in the actual status and roles of the feminine diety and the shaman, as well as teh power to perform it. With the existential result of getting moral sublimation and the power of overcoming death with filial piety, finally losing its power and becoming the female diety managing death, Baridegi has the characteristic of 'the great goddess' representing the feminine power, achieving self-liberartion through her own death, not self-affection, and getting self-surmounting through hardships and self-discipline, going beyond controlling fecunidity of the earth. This is to say, recovering moral inferiority and social powerlessness, given to women in real world, it has the intention of getting moral superiority and social authority even in the mythical world. Various dances of the male and female shamans after the narrative shaman songs, describe the transforming process in which the victim in the patriarchal system becomes a victor through the tragic experiences and the recovering process, the female diety undergo. This reminds and projects the original form of the great goddess, getting out of the attachment to the female character in the patriarchal system as the latent cultural symbol. One of our traditional dances, shaman dance and mask dance, having the performance format of our own, exercises the power controlling both the living and the death world, by means of connecting this world and the next world, and the god and the man in the sense of unity developed between the audiences and the performers, hereby solving human being's dicords and desires. This is also revealed in dances performed in the theater. Creative dances after 1970s emphasize the principles of feminine culture, naturehood and motherhood, concentrating on the subjects of real world. <Living as a Wild Flower in This Land:1985> by Bae Jeong-hye, by Mun Il-ji, <Wooden Stele: 1992> by Im Hak-seon, express Korean women's peculiar experiences, accusing women's hard lives. <Spring: 1995> and <Mekkot: 1996> by Gim Hyeon-ja, <Ryu-The Wood of Life: 1997> by Gang Mi-ri, <Black Songs of a White Bird: 1991> by Im Hak-seon, <Oh! Mom Laughs: 1996> by Yoen Dok-Gyeong, and <Gongmudohaga["My Lord Not Cross the River" Song]: 1998> by Kim Myong-suk present spiritual values, such as positive understanding and caring of female body, healing, and motherhood, as alternatives to escape from the social and environmental crises.
The study on Korean dance in the perspective of eco-feminism in very useful to analyze the social role of the dance, a cultural phenomenon, and has the meaning in representing various viewpoints in studying Korean dance history.

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