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Qualitative Change in Performances of Two Generations of Korean Dancers

Published online by Cambridge University Press:  22 July 2014

Christine Loken-Kim  and
Juliette T. Crump
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Extract

In the twentieth century, dance performances in the Republic of Korea have undergone a number of changes in terms of settings, audiences, and performers. Since the 1970s dance activity has blossomed under the auspices of university dance and physical education departments; there has been a steady increase in the number of professors of dance and also in the number of students majoring in dance. With the regular academic calendar, a concert season has developed and professor-choreographers have been pushed to provide new dance pieces for these concerts. Many of the new works freely blend vocabulary from various styles of Korean dance, such as court, professional female entertainer (kisaeng) (I), mask, and farmers' dances, with spatial arrangements suited for a proscenium stage.

While this creative activity is indicative of the growth taking place in all areas of Korean society, older specialists in Korean culture and arts have noted that recent efforts involve changes in the movement qualities and moods created by dancers. As these specialists watch younger dancers perform the traditional dances they often lament that “something” is being lost (Lee, Du-hyon 1984).

Type
Articles
Information
Dance Research Journal , Volume 25 , Issue 2 , Fall 1993 , pp. 13 - 20
Copyright
Copyright © Congress on Research in Dance 1993

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