계보학적 관점에서 본 부산 동인발레

Abstract

Having begun to be established in 1979 by those teaching and learning ballet in each university of Busan, coterie ballet companies are, in fact, the ‘dispositif of power’ activating powerknowledge. The groups contributed to revitalizing Busan’s Ballet in the 1990s by deconstructing and reconstructing classical ballet grammar through creation, challenging and innovating Busan’s ballet through performances in experimental venues, and forming the public sphere through the work production of social issues. On the other hand, however, they also strengthened the backwardness of Busan’s Ballet because their unique closedness centered around the professor in charge was entrenched in the form of a local coterie ballet. Based on such historical-social conditions surrounding Busan’s coterie ballet, this study carries out two main tasks: first, it analyzes Busan’s coterie ballet as the ‘dispositif of power’ created by the effect of power-knowledge from a genealogical point of view; second, it is proposed that Busan’s coterie ballet also be considered the potential ‘dispositf of resistance’ that can form a new community with some liberation strategy of secularization that cannot ever be governed.