복식문화연구 27권 4호 (p.353-367)

|[Original Article]|
A study on Korean creative dance costumes design through analysis of Jin-Yi Hwang’s Sijos

황진이 시조 분석을 통한 한국 창작무용 의상디자인 연구
키워드 :
Korean dance,한국무용,dancing costume,무용의상,Jin-Yi Hwang,황진이,fashion design,패션디자인,Korean design,한국적디자인

목차

Abstract
I. Introduction
Ⅱ. Backgrounds
1. Korea fashion design definition and case analysis
2. Definition and role of Korean creative dancing costume
3. A component of the design of Korean Creative Dancing costume
Ⅲ. An Analysis of Korean Fashion Design Cases with Jin-Yi Hwang
1. Korean fashion design in drama <Jin-Yi Hwang>
2. Korean fashion design in the movie <Jin-Yi Hwang>
Ⅳ. An Analysis of Jin-Yi Hwang’s Sijos
1. Sijo Ⅰ <Green mountain is like what I’ve meant>
2. Sijo Ⅱ <To Byeokgyesoo in Cheongsan-ri>
3. Sijo Ⅲ <Dongjibam ginaginbam>
Ⅴ. Application of Jin-Yi Hwang’s Sijos to Korean Creative Dancing Costumes
1. Intention and method of production of works
2. Production and description of works
Ⅵ. Conclusion
References

초록

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang’s sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled “Green mountain is like what I’ve meant”, “To Byeokgyesoo in Cheongsan-ri” and “Dongjibam ginaginbam”. In brief, Jin-Yi Hwang expressed her “everlasting love and emptiness”, “temptative conciliation” and “eager waiting” these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang’s sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang’s expressed emotions.