This study examines the entire creative process of the dance work Dance Speaks for Me to articulate the choreographer’s stylistic approach and artistic philosophy. Using Practice-Based Research (PBR), the research analyzes the stages of conception, choreography, rehearsal, performance, and post-performance reflection. The findings reveal that dancers’ bodies function as active agents that generate narrative meaning through sensory experience. Sensory-based movement exploration facilitates the emergence of natural and organic movement qualities, extending choreography beyond formal composition toward philosophical and relational dimensions. This process identifies three core movement characteristics: immanence, narrativity, and resonance. The study further confirms that not only the final outcome but the creative process itself operates as a central choreographic principle. Consequently, the choreographer’s artistic philosophy and style are systematized around sensory awareness, while democratic communication between choreographer and dancers proved essential in fostering dancers’ growth as expressive subjects rather than passive performers.

This study, focusing on the Lion Dance Act of Bukcheong Saja Noleum, explores the potential of traditional arts as creative resources in contemporary performing arts. The research employed a comparative cultural case study in conjunction with creative practice research. First, a review of literature and analysis of video materials examined the performance structure, dance movements, and symbolic system of the lion dance. Second, the researcher’s own choreographic practice, transformed the traditional movements and reconfigured them into new choreographic vocabularies. The findings revealed, first, that the themes, spatial pathways, music, and costumes of the lion dance were reconstructed in the creative work Lion Play, and second, that expressive symbolism emerged, highlighting apotropaic functions, reconciliation and coexistence, and the festive spirit of community. This study demonstrates how traditional arts can generate new meanings and aesthetic values within the language of contemporary dance, while also identifying points of connection between tradition and modern performance. Furthermore, it suggests the potential of traditional heritage-based dance creation to expand artistic practices and to serve as foundational resources in production, planning, and education within the performing arts.

The purpose of this study is to illuminate the development and characteristics of dances in the area of Seoul based on achievements and significant contributions of Han Seong-jun, a master of Korean traditional dance. The study period spans from 1908, when Han Seong-jun settled in Seoul, to 1941, the year of his passing. Research methods involve literature related to Korean music and dance, as well as examining newspaper materials. The research focuses on Han Seong-jun’s dance lineage within traditional dance. The findings reveal that dance evolved through both theatrical and private arts organizations. In the early 1900s, Seoul-based dances, following Han Seong-jun’s legacy, were performed by artists associated with various private arts groups, gradually transitioning into commercialized, staged, and entertainment-oriented forms. From a traditional and creative perspective, dances are categorized into those transmitted and performed continuously and those that have disappeared and are now being revived. From today’s perspective, the approximately 72 works that Han Seong-jun staged, restructured, and created can be considered ‘Han Seong-jun style new tradition’. Most of the works have been destroyed, but there has been a movement to restore and reproduce them recently.

This study aims to obtain objective reliability for the criteria for the effective use of visual media in dance creative works, derived by the researcher through prior research on “A Study on the Utilization Effects of Visual Media in Dance Creative Works.” To achieve this, the study analyzes four contemporary Korean dance creative works that utilize visual media, validating the validity of the criteria for effectiveness. Accordingly, the research allows the choreographer, who is also the creator of the works, to apply thr criteria directly, enabling analysis of the visual effects based on choreographic intent.

This study examines the role and relationship of moving image among various art genres collaborating on dance performances. Six works by the Buripuri Dance Company, a private organization from 2004 to 2015, and 12 works by the Gangwon Provincial Dance Company, a professional organization, from 2017 to 2022, were analyzed 41 moving image clips were used in 18 dance performances. In this study, we collect and screen capture shots of 41 moving image clips out of 18 dance performace. We presented 12 expression methods that can distinguish the purpose and use cases of moving images from the perspective of stages, dancers, and audiences based on the contents commonly presented in six previous studies for work analysis. The 12 expression methods can distinguish the purpose and characteristics of the moving images for the dance performance. As a result, the most important reference point in the relationship between dance performances and Moving Images revealed in this study is the choreographer's intention. In addition, close collaboration between choreographers and video designers can not only improve the work's workability but also increase the understanding and immersion of the work from the audience's view. Therefore, this study is a records 20 years of choreographers and Moving image designers to create dance performances with high workmanship.

This article explores the philosophy of life contained in Lee Ae-ju’s dance and its theory from a critical perspective. I first discussed the planning intentions of the three works of Lee Ae-ju’s Creative Dance Ttangkkeut, Nanumgut bap, and Balloon Flower, as well as the view of life of her dance. Secondly, the traditional dances of Seungmu, Salpurichum, and Taepyeongchum were explained, and Lee Ae-ju's artistic life and dance worldview were examined. Finally, the meaning and nature of the Lee Ae-ju’s dance, intended to be expressed across traditional and creative dances, were identified and the philosophy of life within it was explored.

An artist who has contributed significantly to the prosperity and development of Korean dance; an innovator who has steered her craft toward opening doors to a new world of creative positivity, Lee Ae-ju was such an artist. While traditional dance of the past and modern forms of creative dance have often been in conflict, Lee’s nationally designated dance has spread its wings defying a century of creative ideology. By adding excitement and style to the rhythm, her art has sublimated dance into a form that embraces rebirth with joy. Through her dance, she gave new life to the creative spark of her field and helped instilling hope for both freedom of expression and democratization.

Based on the concept of "différence" proposed by Deleuze, the purpose of this study is to explore the philosophy of ‘creation and extinction’ in Korean creative dance through an analysis of Cha Soo jung's piece 淸, Open the Blue Sea(2021). Applying Deleuze’s notion of différence to this piece, the sea in 淸, Open the Blue Sea is not the place of death, but of life, and courage for life. Consequently, this study discovers the potential of expanded interpretation of dance as a space for humanities and thoughts by examining its association with the concept of différence, which re-generates the true meaning of life through death. Further, it is essential to examine the possibilities of expression within Korean creative dance by analyzing how dance art elements are connected in the work 淸, Open the Blue Sea to symbolize the place of Cheong's death and the sea through a reinterpretation of Korean classical literature.

This paper investigated the theme ‘creation’ with the focus on the Korean traditional dances. At first, the problems in the creation of existing Korean dances were analyzed. Through the analysis, the creative factors lacking in individual characteristics were presented and the introduction of the western-oriented concept of creation was critically examined. On the basis of the awareness on the difference of artistic concept between eastern and western world, the concept of creation was discussed in the transmission history of dances. Next, the frame of reference for the creation of the traditional dance was presented. It includes the formation of lines and surfaces through principle of circulation, the formation of dance styles based on the traditional breath method, the approach to interpret rhythms and the application of steps. In conclusion, the events inducing the creation of traditional dances were identified and presented in the ancient literature.

Traditional art genres have been differentiated and developed as new types in a 21st century that is already accustomed to diversity. In particular, modern art was grafted to digital media to escape the negative limitations of the traditional class to enjoy something through an expansion into popular culture with de genre. As a result, the art world was able to determine how to promote this expansion, leading to a fusion and reinvention through “communication and integration” between genres. Recently, the attempt to develop a research-intensive genre has been progressing by grafting arts genres, differentiated under a paradigm called “The same starting point,” through exchanges and convergence. Particular attention has been given to grafting the characteristics of modern poetry to dance creation and performance in a fusion of literature and dance. This fusion can be divided into two types based on the intertextuality of the two genres. One is poetic dance, with the poetry-dance concept expressing poetic nature through dance, while the other is the dance scenario poem, with the dance-poem concept focusing on performing arts. Though the two concepts are not independent art genres, from the viewpoint of fusion and re-creation, they can be evaluated in terms of how they individualize dance’s deep poetic soul and poetry’s dynamic symbolism. The purpose of this study is to establish creative methods for poetic dance drama, with the essay focusing on creative process methods for three dance poems using a typed person with repose of souls through the symbolic images of Kokdugaksi Norum, which is a traditional drama, in convergence with the plot of ssitgimguk (a shaman ritual for cleaning a dead person’s soul), which is a folk ritual of sacrifice, and modern poetry. In Chapter 1, for the conceptual definition of poetic dance drama, the prior research on the intertextuality between poetry and dance will ber reviewed, while Chapter 2 will premise the creation of poetic dance drama, analyzing the story and character structure of “Lemuralia” in order to apply in earnest the relationship between a ritual of sacrifice and original art to creative activities. In Chapter 3, the essay will explore creative methods through the analysis of actual poetic dance drama. It aims to expand the arts in modern society by encompassing an emotional re-convergence with different arts genres from traditional society. In order to complete the poetic dance drama, Kokdugaksi Norum, conducted in this study, this researcher summarizes the creative methods of poetic dance drama mentioned above according to three points of view. The first is a mix between arts genres that borrow from Korean culture. The second coordinates poetic creation and the language arts within a process for broadening our understanding of the symbolic and dynamic movements of dance, body arts in terms of recognizing performing arts. The third fuses poetry with dance in combination with dynamic images to recognize the poetic soul and to identify the possibilities inherent in communication, individuality, and the convergence of arts genres in terms of creating community awareness that can be interpreted as an object of symbolic meaning.

This thesis presents an interpretation of Korean musical history based on an analysis of the choreography of each era. The development of Korean musical theatre can be divided into the following three ages. In the antecedent stage (1930s–1950s), the first musical production were like operas, but these were very different from Western musical theater. Korean traditional dance also remained popular. The dance themes focused on politics or parodied current events. The famous choreographers in this era were Kim Minja and Jang Chuhwa. In the development stage (1960s–1980s), Western influence on Korean musical theatre was pronounced. Commercial efforts were made to develop a music industry. Spectacular shows were produced, and these represented an attempt to target global markets. The famous choreographers in this era included Kim Bekbong, Lim Sungnam, Choi Hyun, and Bek Sungku. The golden age (1990s–2010s) brought dramatic change to Korean musical theater. While the original Korean musicals had been established as the basic form of musical theatre, Western musicals became a major branch in the Korean music industry. Each branch was a thriving institution, artistically and commercially, and each had its own place and purpose. The famous choreographers in this era included Han Ikpung and Seo Byungku. Korean musical theater has been a part of the dramatic presentations of the times. Due to the emergence of modern Western musical theater, many structural elements changed, and choreography in musical theater became an important part of productions.