The purpose of this study is to compare expression materials between Kim Baik-bong’s Korean fan dance, a traditional dance designated as an intangible cultural asset and Kagyadifu(かぎやで風), a fan dance of Okinawa in Japan. To do this, we externally util ...
The purpose of this study is to compare expression materials between Kim Baik-bong’s Korean fan dance, a traditional dance designated as an intangible cultural asset and Kagyadifu(かぎやで風), a fan dance of Okinawa in Japan. To do this, we externally utilized an analytical method of KAMAKURA and analyzed interviews and oral recordings for internal meaning. We utilized the system of classification of 鎌倉他(1978) and KAMAKURA et al (1980)’s による手の把握の分類による, Japanese scholars who classified Power Grip, Lateral/Tripod grip, Parallel Mild Flex Grip, and Adduction Grip of hand movement, to classified fan technique of Kim Baek-bong’s Korean fan dance and Kazadhi, a fan dance of Okinawa in japan. Jubsawui and Pyunsawui, which are the basic technique of fan dance of Kim Baek-bong are all Power grip and they refer to the condition of grasping firmly with fingers and wrist. The appearance of daily life and natural phenomenon became a motto of fan dancing steps, and those dancing steps such as folding, spreading, turning convey the expression of the living in the world from the heart. The technique of holding the fan of Kagyadifu (かぎやで風) are these following: Power- Grip- Standard type, Power- Grip- Ext, Tip – Grip, and Parallel – Ext- Grip. And here, the fan symbolizes and functions as a part of the body, not selected as a certain object. Through this methodology, we focused on the technique of the fan of these two expression materials and we have drawn following conclusions. First, as we apprehended the movement characteristics, Ryukyu dance has more various types. But Korean dance has a stronger rhythm rather than types. Second, both Korean dance and Ryukyu dance have strong abstractness and weak concreteness, and consist of techniques that are meaningless. Third, Korean dance have many unmeaningful techniques but they represent flowers, mountains, winds, natures or author’s internal intentions.