부산대학교 도서관

This study has been conducted as preliminary research for systematically categorizing Korean traditional dance, and it serves to propose the basic minor movements that comprise Korean traditional dance. The methodology and procedure applied to this study are listed below. In the first stage, the concept of dance performance that is used somewhat arbitrarily has been clarified by referring to dictionaries and the findings from previous research. The direction of study has been examined by reviewing the details of previous research. In the second stage, the basic minor movements that comprise Korean traditional dance have been proposed after reviewing the research regarding the minor movements, which are the smallest movement segments in dance performance (Related research carried out by Byeong-Ho JUNG, Geum-Sul PARK, Hee-Ju SEO, and Sun-Seon HUH). Finally, the usability of the basic minor movements has been examined through “Seung Mu” that is Korea’s Important Intangible Heritage No. 27. The findings of this study are presented as follows. Firstly, the term, Chumsawui (Dance Performance), appeared for the first time when dance became the subject of academic study in Korea. It was a newly created term that integrally describes Sawui (hand motions), Balim (gesture), and Nureumsae (shape). Thus, the scope of movement is far from being consistent but generic. Nowadays, Chumsawui is generally defined as movement or dance movement while relative research has been carried out with a focus on the collection of materials based on field studies, movements comprising Chumsawui, and the definition of Chumsawui terms. Secondly, Byeong-Ho JUNG defines each Minor Movement as the smallest movement segment that comprises Korean traditional dance performance, and suggests basic minor movements such as “Pyeong(平), Sa(斜), Hap(合), Geo(擧), Gul(屈), Hwak(擴), Won(圓), Pa(波), Yeon(連), Hoi(回), and Do(跳). According to Geum-Sul PARK, Hee-Ju SEO, and Sun-Seon HUH, the major part of their research presents each movement that is regarded as a minor movement, although the term “Minor Movement” is not mentioned directly. The minor movements for the lower body include “Preparatory Posture”, “Setting Foot”, “Walking”, “Raising Foot”, “Hopping”, “Bending”, “Turning”, and “Beating Foot”. The minor movements for the upper body include “Upper Body Preparatory Posture”, “Raising Arms”, “Raising Arms Forward”, “Raising Arms Horizontally”, “Raising Arms Upward”, “Bending Arms”, “Dropping Arms”, “Opening Arms”, “Waving Arms”, “Dandling Arms”, “Winding and Stretching Arms above the Head”, “Crossing Arms”, “Twisting Arms”, “Twisting Wrist”, and “Rotating Wrist”. According to the findings from the above mentioned research, the following 19 movements have been selected as the basic minor movements of Korean traditional dance: “Stretching”, “Folding”, “Raising”, “Dropping”, “Bending”, “Sparkling”, “Flapping”, “Pushing”, “Beating”, “Dandling”, “Standing erect”, “Sitting”, “Walking”, “Raising Foot”, “Putting Foot Down”, “Bending and Stretching”, “Standing and Rising”, “Turning”, and “Jumping”. Thirdly, according to the research undertaken by Geum-Sul PARK, Hee-Ju SEO and Sun-Seon HUH, the structure of the basic minor movements used in Korean traditional dance begins with breathing. Like the structure of Korean letters (combination of consonant and vowel), one Chumsawui is created on the basis of the harmonious combination of a lower-body movement and an upper-body movement. Of the 19 movements, there are 10 upper-body movements; “Stretching”, “Folding”, “Raising”, “Dropping”, “Bending”, “Sparkling”, “Flapping”, “Pushing”, “Beating”, and “Dandling”. The other 9 movements are categorized as lower-body movements: “Standing erect”, “Sitting”, “Walking”, “Raising Foot”, “Putting Foot Down”, “Bending and Stretching”, “Standing and Rising”, “Turning”, and “Jumping”. Fourthly, each upper body movement implies the following meaning. “Stretching” refers to stretching the arms horizontally or diagonally. “Folding” refers to dropping the hands down and folding in one direction. “Raising” refers to raising the hands. “Dropping” refers to dropping the hands down. “Bending” refers to bending the arms or the back. “Sparkling” refers to throwing long sleeves or thin towels in various directions. “Flapping” refers to rotating the wrists and flapping the hands. “Pushing” refers to rotating the hands outward and pushing away. “Beating” refers to beating the wrists upward or downward while raising or dropping the arms. “Dandling” refers to pushing and pulling the body in tune with the rhythm. Fifthly, each lower-body movement represents the following meaning. “Standing erect” refers to standing erect in one place. “Sitting” refers to sitting in one place. “Walking” refers to shifting the gravitational center while walking around in various directions. “Raising Foot” and “Putting Foot Down” refer to raising or putting down the feet without shifting the gravitational center. “Bending and Stretching” refers to bending the knees. “Standing and Rising” refers to rising upward by stretching the bent knees. “Turning” refers to turning the body in various ways. “Jumping” refers to all kinds of jumping movements. Finally, this study examined the usability of the basic minor movements of Korean traditional dance with a focus on “the basic Salpuri”. According to this study, the upper- and lower-body movements are regarded as higher categorization units, Ryu (Grouping), and they serve as the criteria for categorizing and defining the basic Salpuri’s minor movements which are individual units. To reinforce the universality and effectiveness of these basic minor movements, they need to be modified, supplemented, and applied to more dances including “the basic Salpuri”. Furthermore, it is asserted that this examination process must be undertaken in order to systematize, integrate, and standardize general Chumsawui terms for Korean traditional dance, which are currently used inconsistently.