The purpose of this study is to define the aesthetic quality through dance motion analysis of Shim Hwayeong Buddhist dance. This project will be a significant work not only for theoretical thesis and succession development, but also as an important first step for Shim Hwayeong Buddhist dance. The result of dance motion analysis is like the following. Firstly, Pyeong appeared 5 times, Hwak appeared 0 time, Gul appeared 0 times and Hap appeared 1 time; as for arm positions, high appeared 1 time, middle appeared 5 times and low appeared 0 time in Buddhist invocation beat. In Jajin Buddhist invocation, Pyeong appeared 0 time, Hwak appeared 9 times, Gul appeared 7 times, Hap appeared 5 times, high appeared 15 times, middle appeared 1 time and low appeared 6 times; in Taryeong beat, Pyeong appeared 8 times, Hwak appeared 23 times, Gul appeared 33 times, Hap appeared 12 times, high appeared 40 times, middle appeared 11 times and low appeared 14 times. In Jajin Taryeong, Pyeong appeared 0 time, Hwak appeared 9 times, Gul appeared 8 times, Hap appeared 1 time, high appeared 10 times, middle appeared 4 times and low appeared 4 times; in Shaman song beat, Pyeong appeared 5 times, Hwak appeared 32 times, Gul appeared 42 times, Hap appeared 10 times, high appeared 59 times, middle appeared 20 times and low appeared 4 times.
Secondly, as for the result of foot motion analysis, Yeon appeared 6 times, Hoi appeared 0 time, bouncy walk appeared 0 time, Bijeongbipal appeared 0 time, high appeared 0 time, middle appeared 6 times and low appeared 6 times in Buddhist invocation beat; Yeon appeared 0 time, Hoi appeared 1 time, bouncy walk appeared 1 time, Bijeongbipal appeared 10 times and as for the position, high appeared 0 time, middle appeared 0 time and low appeared 10 times in Jajin Buddhist invocation. In Taryeong beat, Yeon appeared 28 times, Hoi appeared 3 times, bouncy walk appeared 2 times, Bijeongbipal appeared 24 times, high appeared 0 time, middle appeared 14 times and low appeared 52 times; in Jajin Taryeong beat, Yeon appeared 8 times, Hoi appeared 0 time, bouncy walk appeared 1 time, Bijeongbipal appeared 0 time, high appeared 0 time, middle appeared 0 time and low appeared 8 times.
The simple dance motion, in the form of which most of the arm motions are placed and thrown about without getting entangled, is peculiar about Shim Hwayeong Buddhist dance; and it shows the beauty of temperance by remaining on top of one hand after throwing about. It represents the dance very close to the original, not artificially made, and has the beauty of slowness; shows natural beauty which emphasizes the natural tune in rhythm. Although it does not have the brilliant technical skill and splendid foot play of showing the tip of socks like the static Buddhist dance Jangsam throw-about, Shim Hwayeong Buddhist dance contains the peculiarities of beauty of temperance, beauty of naturalness, sublime beauty and beauty of slowness. Nevertheless, despite the fact it has such peculiarities and retains the original form, Shim Hwayeong Buddhist dance is not popularized. If Shim Hwayeong Buddhist dance preservation society and Chungcheongnam-do cultural properties management agency make efforts for cultural property enhancement even after having it be appointed as a cultural property, the base of Shim Hwayeong Buddhist dance will be expanded. Considering the advanced age of Shim Hwayeong, it is in desperate need of many professional dancers' concerns. Also, theoretical study for the popularization and understanding of Shim Hwayeong Buddhist dance should be maintained, rather than leaving off at the arrangement of dance notation and the dance motion analysis.
영어초록
The purpose of this study is to define the aesthetic quality through dance motion analysis of Shim Hwayeong Buddhist dance. This project will be a significant work not only for theoretical thesis and succession development, but also as an important first step for Shim Hwayeong Buddhist dance. The result of dance motion analysis is like the following. Firstly, Pyeong appeared 5 times, Hwak appeared 0 time, Gul appeared 0 times and Hap appeared 1 time; as for arm positions, high appeared 1 time, middle appeared 5 times and low appeared 0 time in Buddhist invocation beat. In Jajin Buddhist invocation, Pyeong appeared 0 time, Hwak appeared 9 times, Gul appeared 7 times, Hap appeared 5 times, high appeared 15 times, middle appeared 1 time and low appeared 6 times; in Taryeong beat, Pyeong appeared 8 times, Hwak appeared 23 times, Gul appeared 33 times, Hap appeared 12 times, high appeared 40 times, middle appeared 11 times and low appeared 14 times. In Jajin Taryeong, Pyeong appeared 0 time, Hwak appeared 9 times, Gul appeared 8 times, Hap appeared 1 time, high appeared 10 times, middle appeared 4 times and low appeared 4 times; in Shaman song beat, Pyeong appeared 5 times, Hwak appeared 32 times, Gul appeared 42 times, Hap appeared 10 times, high appeared 59 times, middle appeared 20 times and low appeared 4 times.
Secondly, as for the result of foot motion analysis, Yeon appeared 6 times, Hoi appeared 0 time, bouncy walk appeared 0 time, Bijeongbipal appeared 0 time, high appeared 0 time, middle appeared 6 times and low appeared 6 times in Buddhist invocation beat; Yeon appeared 0 time, Hoi appeared 1 time, bouncy walk appeared 1 time, Bijeongbipal appeared 10 times and as for the position, high appeared 0 time, middle appeared 0 time and low appeared 10 times in Jajin Buddhist invocation. In Taryeong beat, Yeon appeared 28 times, Hoi appeared 3 times, bouncy walk appeared 2 times, Bijeongbipal appeared 24 times, high appeared 0 time, middle appeared 14 times and low appeared 52 times; in Jajin Taryeong beat, Yeon appeared 8 times, Hoi appeared 0 time, bouncy walk appeared 1 time, Bijeongbipal appeared 0 time, high appeared 0 time, middle appeared 0 time and low appeared 8 times.
The simple dance motion, in the form of which most of the arm motions are placed and thrown about without getting entangled, is peculiar about Shim Hwayeong Buddhist dance; and it shows the beauty of temperance by remaining on top of one hand after throwing about. It represents the dance very close to the original, not artificially made, and has the beauty of slowness; shows natural beauty which emphasizes the natural tune in rhythm. Although it does not have the brilliant technical skill and splendid foot play of showing the tip of socks like the static Buddhist dance Jangsam throw-about, Shim Hwayeong Buddhist dance contains the peculiarities of beauty of temperance, beauty of naturalness, sublime beauty and beauty of slowness. Nevertheless, despite the fact it has such peculiarities and retains the original form, Shim Hwayeong Buddhist dance is not popularized. If Shim Hwayeong Buddhist dance preservation society and Chungcheongnam-do cultural properties management agency make efforts for cultural property enhancement even after having it be appointed as a cultural property, the base of Shim Hwayeong Buddhist dance will be expanded. Considering the advanced age of Shim Hwayeong, it is in desperate need of many professional dancers' concerns. Also, theoretical study for the popularization and understanding of Shim Hwayeong Buddhist dance should be maintained, rather than leaving off at the arrangement of dance notation and the dance motion analysis.
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