This study analyzes the impact of stage devices used in Bicheonmu, a creative dance work, on its story development process. The study examines Dunhuang murals and flying figures, and analyzes the props-first used in Ailian’s 1954 Bicheonmu performance, as well as the stage installations repeatedly represented in various Bicheonmu performances until recently. This paper is based on the analysis of literature and images related to Bicheonmu, in addition to the performance videos and photos archived from 1951 to 2021. Since 1954, the stage installations of Bicheonmu have been constantly improved for a more realistic performance, and thus the story of the dance has also undergone changes. Various stage devices used in Bicheonmu, such as flying cars, steel wires, electronic screens, flying devices, and underwater, create a spectacular scene. The paper, which focuses on the different kinds of stage equipment and props used in Bicheonmu, will contribute to offering a reasonable development plan for the transmission and innovation of the dance.

The purpose of this study is to uncover the specific pro-Japanese actions of dancer Jo Taek-won (Japanese name Fukugawa Moto 福川元, 1907-1976), to improve our understanding of the history of Korean modern dance. Research was carried out through analysis of the Encyclopedia of the Pro-Japanese collaborator(2009), Report on the Truth of Pro-Japanese Anti-National Activities (2009), and visual data. First of all, I identified the collaborations with the Japanese Empire of Jo Taek-won. Jo Taek-won choreographed the representative pro-Japanese dance drama Buyeohoesanggok (1941.5.12.-16), and performed in other pro-Japanese contexts, including a number of Japanese military consolation performances for conscriptsand student soldiers. After liberation, Jo Taek-won took the lead in the dance world despite his pro-Japanese career, and after his death, a dance memorial stone produced through fundraising was erected. I argue that Jo Taek-won's artistic achievements and pro-Japanese activities should be taught together in dance education for later generations. In that sense, I suggested that an inscription containing the pro-Japanese history be added next to Jo Taek-won's dance memorial stone built at the National Theater of Korea.

The purpose of this study is to investigate the value and effect of Myeongjakmu as cultural contents and to study development measures for revitalization. A total of eleven experts, including eight original performers and successors of Myeongjakmu and three dance performance planners and administrators, were interviewed in both unstructured and semi-structured ways. Based on the data collected from the interviews with these experts, two areas of Myeongjakmu – its creative values and its ripple effects – emerged to serve as cultural contents. Music, dance moves, costumes, and props were categorized into the creative value area, while popularization, consensus formation, and accessibility were classified into the area of ripple effects. In this article we propose four development plans to revitalize Myeongjakmu based on the experts opinions. Establishing the status of Myeongjakmu, policy support, deepening expertise, and securing sustainability. These actions will increase the value of the disappearing Korean dance cultural heritage as a systematic study for future Myeongjakmu, and contribute to the establishment of related knowledge systems and basic composition of transfer materials.

The purpose of this study is to shed light on the therapeutic meaning and value of dance from a historical perspectives by confirming and verifying Korean 'Byeonggut' and Italian 'Tarantism', two dance examples from both the East and the West, which overcome and heal actual diseases. First, from a synchronic perspective, the cause and background of each disease as well as the characteristics and therapeutic functions of each dance were examined. In addition, from a diachronic perspective, the process of change over time from the origin of each disease to recent research and development of each disease and dance was explored. The study was based on literature research of domestic and international books, theses, and academic papers and internet sources. The comparison and analysis of the two dances find that there are similarities in the causes of the disease, symptoms of the disease, treatment methods, and main means of treatment. However, there are differences in terms of the distribution of occurrence, participants, treatment targets, and patient attitudes between the two dances.

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 study aims to explore 'the common' art ecosystem through the concept and practice of artist collectives which have been developing since the 1990s. 'The individual' and 'the common' are in a mutually dependent relationship, and a collective becomes the condition for the existence of singularity. I examine the concepts and trend of artist collectives in the context of contemporary arts and discuss the characteristics of artist collectives through the case of Ruangrupa and Sweet and Tender Collaborations. First, they emphasize the self-reliant performance of communities. They present an alternative aesthetic that resists the dominant discourse of contemporary arts and neoliberal artistic trends. Second, the main strategy of an artist collective is the collaboration. The members of the collective share their own resources with others and to discover the possibility of arts through diversity and generosity. Third, it is an artistic transition to an ecosystem. Artist collectives focus on building a sustainable environment for artistic creation. In this study, I contend that artist collective can be considered as a place where artists' performances, practices, and political actions occur.

This study is to analyze the movements of Yeombulgwajang, a section in Seungmu, a Korean traditional dance, from a perspective of Greimas’ semiotics. For the analysis of the study, the movement principles of “contraction and expression” and “tying and untying,” which were derived from the philosophies of Yin-Yang and Reincarnation embedded in Seungmu, were discussed through the idea of Greimas’s semiotic square. The relationships between contraction and expression and between tying and untying are deemed to be confrontational; the relationships between expression and untying and between contraction and tying are regarded as hypothetical; the relationships between tying and expression and between contraction and untying are seemed to be contradictory. The meanings of the dance may be formed and interpreted diversely based on the various combinations of these elements. The study contributes to demonstrating a new way of interpreting inherent meanings in Seungmu.

The purpose of this study is to explore the experience of applying the APIECE(Actor’s Body and Psychology, Psychological Gesture, Personal Feeling and Soul, Image Integration and Imagination, Ensemble and Improvise, Character Characterization, Creative Personality, Expression of Dance) program to improve the dance expressiveness of college students majoring in contemporary dance. In order to find out the qualitative change in dance expressiveness, 5 people with a high level of participation and interest in the program were selected, and in-depth interviews, experience diaries, and observation diaries were categorized using an in inductive analysis method.

As a result, first, college students majoring in modern dance visually expressed their imagination through the imagination of the observed object. Second, the essence of body expression was explored through continuous expression through concentration, confidence in self-movement, and visualization of space. Third, in a person whose center of gravity between me and others was shifted, the form was composed and transformed through the body. Fourth, in the stage of self-awareness through archetypal gestures and psychological gestures, it was explored that dance expressiveness reflects the body's mental attitude.