Dance has been a medium for understanding the philosophy of and emotions behind a culture. This is especially true for a country with a vast and complex history like Korea. Korean dance is a tradition that includes every form of contemporary dance in the country, from shamanistic to folk, court to modern traditional dance, and even breakdancing. Over the past several centuries, each of these unique dance forms has attempted to convey the Korean psyche. This book aims to examine Korean dance from its primitive roots to the complex court rituals and on to the pop culture styles of today. What sets Korean dance apart from that of other cultures will also be explored. Finally, readers will be able to delve into its broad range of forms and long history and gain a better understanding of its role in society.
This is a photo book of Korean dance. This is made by the immigrants who came to the United States to inherit and spread Korean culture and to share Korean culture with the multicultural American society. All photos in this book are from the Chicago Korean Dance Company's performances, focusing on the first ten years (2009-2019), six grand performances that were held every two years. Pictures of other performances and international performances are included in CKDC history pages. It should be noted that 98 percent of all dance costumes and dance props in the performance are made and imported from Korea. Korean dance is divided into three categories: court dance and folk dances that were passed down for a long time, folk dances that were created with the base of Korean dance movements, and original choreography dances that portray modern issues along with modern costumes. Each of the dances in the book is specified into these three categories, and it is listed in the programs. It should also be noted that Muyong and Chum are used interchangeably in Korean language, and both of these words mean "dance" in English. This book is made to inform the viewers about Korean dance, costumes, accessories, and props and to record the cultural activities of CKDC and Korean immigrants.
This book is a study of Salpuri-Chum, a traditional Korean dance for expelling evil spirits. The authors explore the origins and practice of Salpuri-Chum. The ancient Korean people viewed their misfortunes as coming from evil spirits; therefore, they wanted to expel the evil spirits to recover their happiness. The music for Salpuri-Chum is called Sinawi rhythm. It has no sheet music and lacks the concept of metronomic technique. In this rhythm, the dancer becomes a conductor. Salpuri-Chum is an artistic performance that resolves the people’s sorrow. In many cases, it is a form of sublimation. It is also an effort to transform the pain of reality into beauty, based on the Korean people’s characteristic merriment. It presents itself, then, as a form of immanence. Moreover, Salpuri-Chum is unique in its use of a piece of white fabric. The fabric, as a symbol of the Korean people’s ego ideal, signifies Salpuri-Chum’s focus as a dance for resolving their misfortunes.
Contributors to this volume explore the irony of modern things made in the image of a traditional "us." They describe the multifaceted ways "tradition" is produced and consumed within the frame of contemporary Korean life and how these processes are enabled by different apparatuses of modernity that Koreans first encountered in the early twentieth century. Commoditized goods and services first appeared in the colonial period in such spectacular and spectacularly foreign forms as department stores, restaurants, exhibitions, and staged performances. Today, these same forms have become the media through which many Koreans consume "tradition" in multiple forms. In the colonial period, commercial representations of Korea—tourist sites, postcard images, souvenir miniatures, and staged performances—were produced primarily for foreign consumption, often by non-Koreans. In late modernity, efficiencies of production, communication, and transportation combine with material wealth and new patterns of leisure activity and tourism to enable the localized consumption of Korean tradition in theme parks, at sites of alternative tourism, at cultural festivals and performances, as handicrafts, art, and cuisine, and in coffee table books, broadcast music, and works of popular folklore. Consuming Korean Tradition offers a unique insight into how and why different signifiers of "Korea" have come to be valued as tradition in the present tense, the distinctive histories and contemporary anxieties that undergird this process, and how Koreans today experience their sense of a common Korean past. It offers new insights into issues of national identity, heritage preservation, tourism, performance, the commodification of contemporary life, and the nature of "tradition" and "modernity" more generally. Consuming Korean Tradition will prove invaluable to Koreanists and those interested in various aspects of contemporary Korean society, including anthropology, film/cultural studies, and contemporary history. Contributors: Katarzyna J. Cwiertka, Kyung-Koo Han, Keith Howard, Hyung Il Pai, Laurel Kendall, Okpyo Moon, Robert Oppenheim, Timothy R. Tangherlini, Judy Van Zile.
This book is about K-pop dance and the evolution and presence of its dance fandom on social media. Based on five years of ethnographic fieldwork, interviews, choreography, and participation-observation with 40 amateur and professional K-pop dancers in New York, California, and Seoul, the book traces the evolution of K-pop dance from the 1980s to the 2020s and explains its distinctive feature called ‘gestural point choreography’ – front-driven, two-dimensional, decorative and charming movements of the upper body and face – as an example of what the author theorizes as ‘social media dance.’ It also explores K-pop cover dance as a form of intercultural performance, suggesting that, by imitating and idolizing K-pop dance, fans are eventually ‘fandoming’ themselves and their bodies. Presenting an ethnographic study of K-pop dance and its fandom, this book will be a valuable resource for students and scholars of Media Studies, Korean Studies, Performance Studies, and Dance.
Welcome to the Second International IFIP Entertainment Computing Symposium on st Cultural Computing (ECS 2010), which was part of the 21 IFIP World Computer Congress, held in Brisbane, Australia during September 21–23, 2010. On behalf of the people who made this conference happen, we wish to welcome you to this inter- tional event. The IFIP World Computer Congress has offered an opportunity for researchers and practitioners to present their findings and research results in several prominent areas of computer science and engineering. In the last World Computer Congress, WCC 2008, held in Milan, Italy in September 2008, IFIP launched a new initiative focused on all the relevant issues concerning computing and entertainment. As a - sult, the two-day technical program of the First Entertainment Computing Symposium (ECS 2008) provided a forum to address, explore and exchange information on the state of the art of computer-based entertainment and allied technologies, their design and use, and their impact on society. Based on the success of ECS 2008, at this Second IFIP Entertainment Computing Symposium (ECS 2010), our challenge was to focus on a new area in entertainment computing: cultural computing.
Engaging Art explores what it means to participate in the arts in contemporary society – from museum attendance to music downloading. Drawing on the perspectives of experts from diverse fields (including Princeton scholars Robert Wuthnow and Paul DiMaggio; Barry Schwartz, author of The Paradox of Choice; and MIT scholars Henry Jenkins and Mark Schuster), this volume analyzes key trends involving technology, audience demographics, religion, and the rise of "do-it-yourself" participatory culture. Commissioned by The Wallace Foundation and independently carried out by the Curb Center at Vanderbilt University, Engaging Art offers a new framework for understanding the momentous changes impacting America’s cultural life over the past fifty years. This volume offers suggestive glimpses into the character and consequence of a new engagement with old-fashioned participation in the arts. The authors in this volume hint at a bright future for art and citizen art making. They argue that if we center a new commitment to arts participation in everyday art making, creativity, and quality of life, we will not only restore the lifelong pleasure of homemade art, but will likely seed a new generation of enthusiasts who will support America’s signature nonprofit cultural institutions well into the future.
