무용 / 한국 현대무용 작품에 나타난 페미니즘 성향 연구 - 1990 년대를 중심으로 - = A Study on feminism inclination in Korean modern dance work - focus on the 1990s -

다국어 초록 (Multilingual Abstract)

Through human history, gender discrimination has been dominating our society for a long time. It is feminism movement that raised by women against this deep-rooted gender discrimination. Feminism movement, generally known as movement for women rights, is translated as a flow of acquiring women rights and freedom, and it is gradually changing our recognition of women.
With the advent of feminism, women-based women right movement occurred in the fields of art, theater, and cinema, and specifying work in each theme and form has been greatly advanced from the early 20th century. However, in dance dominated by women, there are views of feminism, but it is not concreted yet in other fields such as the mass media, religion, theatre, art and cinema. Also, there are not many so-called feminist dancers in Korean modern dance field.
Accordingly, this paper examines modern dance works performed in the 1990s and feminism inclination in them, and the concept of feminism and its ideological characteristics as a background research. Also, this study examines the aspects of Korean modern dance history which started from Bae gu-Ja to look at how feminism is based on Korean modern dance field by dividing Korean modern dance history into each period, and investigated how feminism performance is being done in the 1990’s modern dance field.
Based on the research above, this study examines Park In-Suk’s 「Maria Complex」 which describes women’s suffering through the problems of abortion, Park Myoung-sook’s 「A morning wake up alone」, which describes the process that an ordinary housewife wakes up to self-consciousness, 「Emi(The mother)」 which reexamines the features of oppressed women by patriarchal chauvinism from the past to the present, and Chun Mi-sook’s 「Female flower」 which describes the features of oppressed women as an aspect of will for woman emancipation, and studied the characteristics of those feminism works through interview with choreographers.
As a result, feminism inclination presented in the 1990’s Korean modern dance works is as follows.
First, most of those works deal with pains of the oppressed women under the ideology of man dominance and dark historical background of Korean nation, and self finding problem of women, and they reflected much of women’s problem at home. Second, women’s image in the works are positive, subjective, and women make efforts to develop their own life escaping social restraints. Third, stage setting and items used in the works reflect female image, and play a role of symbolically suggesting and delivering difference between the oppressed and the emancipated women. Fourth, when analysing general choreography intentions and subjects in those works, they include various inclinations of feminism such as radical feminism, existential feminism, echo feminism, psychoanalytic feminism, liberal feminism, and Marxism feminism, and features of women intended by each different feminism inclination are portrayed.
This paper is intended to make basis of activating feminism performance and to help advance the settlement of feminism performance in Korean dance field by studying feminism inclined modern dance works performed in Korea in the 1990s, and letting dancers, majority of dance population, accept the point of view of feminism.