This study attempted to examine teacher-dancer interaction, basic psychological needs and commitment to understand and provide knowledge in learning methods of university student majoring dance. In total, 337 students were recruited from the seoul and gyeonggi regional university student majoring dance. Statistical analyses(descriptive statistics, reliability test, correlations analysis, confirmatory factor analysis, structural equation model) were conducted using PASW 21.0, AMOS 18.0. Results revealed that teacher-dancer interaction positively predicted passion, as well as commitment. Basic psychological needs positively predicted commitment. In addition, basic psychological needs was partially mediated by teacher-dancer interaction on commitment in university student majoring dance.

The purpose of this study was to investigate the effect of job stress of professional dancers on organizational effectiveness. Specifically, we were investigated the effect of job stress on job satisfaction, organizational commitment (affective, normative, continuance), and turnover intention in organizational effectiveness. This study will be an effective way to improve the organizational performance. The data collection was conducted in professional dancers working in domestic professional dance groups such as National Ballet. A total of 300 questionnaires were distributed. A total of 257 questionnaires were used in the final analysis, except for 43 questionnaires that were inappropriate for the questionnaire response. Sampling was based on the convenience sampling method and the questionnaire was done by self-filling method. To analyze this study, we used IBM PASW 22.0 statistical package. The results of the analysis were as follows. First, interpersonal relationship had a significant effect on job satisfaction among job stress of professional dancers. Second, interpersonal relationship and external environment had significant influence on affective commitment and normative commitment among job stress of professional dancers. Third, surrounding expectation had significant influence on turnover intention during job stress of professional dancers. In conclusion, it was suggested that eliminating the job stress of professional dancers was important for enhancing organizational performance and organizational effectiveness.

The purpose of this study was to examine and highlight Choi Hyeon’s dance, performed during his life as part of Korea’s dance history, in terms of its position in the art world. Choi Hyeon was born in Yeongdo, Busan on December 6, 1929 and passed away from liver cancer at the age of 78 on July 8, 2002. He entered the dance world in 1946 as a pupil of Kim Hae-Rang (金海郞) and learned the basics of dancing by emulating the teacher for eight years. His dancing career developed after his arrival at Seoul. Choi Hyeon was one of the most influential dancers between the 1950s and 1980s, and he acted as a choreographer and dancer, showing originality based on tradition, from the 1970s until his death in the 2000s. He also continued to teach dance from the 1950s until his death. Choi Hyeon broadly classified his works into large-scale dance dramas and small-scale dance works. His leading dance dramas included (National Musical Company of Korea, 1974), (National Dance Company of Korea, 1979), (National Dance Company of Korea, 1981), (Seoul Performing Arts Company, 1987), (Seoul Metropolitan Dance Theatre, 1992), (Seoul Performing Arts Company, 1999), and (Choi Hyeon Dance Performance, 2001). His leading small-scale dance works included (1976), (1993), (1994), and (1999). Choi Hyeon's dance world was broadly understood within the genre of Korea’s creative dance, but technically, it was a successful case of an advanced style in the genre of new dance. Choi Hyeon left his imprint on Korea’s dance history, while leading his life in the modern era, by his successful creation and performance of his works based on his theory of new dance-oriented reasoning among Korea’s various styles of creative dance.

Hallyangmu is one of folk dances, in which the original form and archetype of Korean dance have been well inherited and recorded. Since its original forms were recorded in Gyobang Gayo (1865) written by Jeong Hyeon-seok, Hallyangmu has been inherited in various forms. It was passed down by gisaeng in the enlightenment era and performed as theater dance by Han Seong-jun. Notably, it is a dance drama in which narrative structure has been well recorded. Hallyangmu, has been inherited mainly in Gyeonggi region and Yeongnam region. Hallyangmu danced by Gang Seon-yeong and Jang Hong-sim, who followed Han Seong-jun’s style, was designated as a cultural asset of Seoul City in 2014 and has been most standardized in terms of character composition and narrative structure. Hallyangmu in Han Seong-jun’s style largely consists of four sequences: story of a playboy and a maiden;of a Buddhist monk and a maiden;of a playboy and a female barkeeper; and the final sequence for resolution They make.a story with the combination of minimized unit structure and seek an open space in which the story can be expressed in movements. The characters in the dance are a playboy, a maiden, a Buddhist monk (dark faced Buddhist monk) and a female barkeeper. When the playboy is seen as a subject, the maiden as an object, and the monk as an opponent, the dance is expressed in the triangle contrast structure in which two male characters have conflicts to win love. However, the structure centers on the maiden without direct conflicts between the Buddhist monk and the playboy, and personalities and characters come to the surface through concepts of behaviors.

The purpose of this study is to analyze papers on the dance motivations of dance majors in Korea and figure out the research trends in the area to establish a foundation for education for the dance motivations of dance majors and propose future research direction. For these purposes, the investigator selected total 64 papers published in Koreanstudies Information Service System, DBpia, Scholar of Kyobo Books, and e-Article from 2001 to December 2017. They were analyzed in terms of the academic journal of each year, subject, methodology, analysis of methodology, and research topic according to different analysis methods. The analysis results led to the following conclusions: first, there was a multi-angle distribution of the papers across 17 journals in the nation. As for research trends by the year, while there a single research in 2002, the research activities gradually had been expanded from 2006 to 2017. Second, the highest percentage of subjects among the papers were college students and graduate students majoring in dance. Third, as for methodology, quantitative researches were the most. Fourth, correlational research was adopted in most quantitative researches. Qualitative methods were also adopted in researches, but these researches were relatively meager. There was no literature study on dance motivations. Fifth, as for research trends by the research topic, researches on self-determination and regulation, an aspect of motivation, recorded the highest percentage. In short, researchers will need to employ a variety of methodologies and designs to prevent their findings biased in a direction in the area of dance motivations. Follow-up study will especially need to develop measuring instruments fit for the field of dance to investigate professional relations among variables related to dance motivations.

The study aims to explore the function and meaning of Korean community dance. To meet this end, the research was conducted based on interviews with choreographers who participated in community dances and related materials. As its theoretical orientation, this study adopted a phenomenological approach among qualitative research methodologies. Community dance is a process in which the participants are self-driven and understand themselves through a structure led by professional dancers, but it also creates a sense of community awareness and a positive atmosphere. The study also focused on in-depth interviews to explore the function and meaning of Korean community dance in order to ensure the validity of qualitative research. First, community dance cultivates self-awareness of community members through communication structure. Second, community dance provides the basis for discovering new choreography methodologies. Third, community dance enables the discovery of new possibilities of modern dance. Fourth, community dance promotes the re-recognition of the process of completion of works Fifth, community dance encourages the sharing of positive elements of dance. In conclusion, Korean community dance has a variety of functions and meanings. In order for community dance to continue, supports from various agencies, including the program operator and the Cultural Foundation, and the development of choreography methods, and diverse methods of communication with the public are needed.

The purpose of this study is to explore the creative scene of youth dance artists by revealing the meaning of the audience to them based on their experience of the creative support project of youth dance artists. In order to do so, in-depth interviews were conducted with three youth dance artists who were beneficiaries of the program and the transcriptions of the interviews were analyzed qualitatively by constant comparison method. From the results, I was able to derive the significance of the following three categories. First, starting from the conception phase, the youth dance artists try to instill in their performance a value that is up to par with the high expectations of the audience. Second, they think that the critiques by critics and other professionals in the field are limited and propose the need to give more weight to the reactions of the lay audience as an evaluation factor. Moreover, they suggest the need to diversify the evaluation committee and review committee members in order to encourage the inflow of new dance artists. Third, the youth dance artists point out the difficulty of their activities reaching the critics as well as the media and point to the audience as a remedy to the issue as well as a driving force to construct new field of dance. First, as an element of support in the program, I propose to strengthen the support in the domain of criticism. There is also a need to improve the program’s current process of evaluation and review to emulate a structure in which currently active artists, professionals of various fields, and the lay audience can participate. Finally, I propose to strengthen the role of the country as a facilitator that encourages the support of its citizens and emphasizes the role of the market.

Past English-language scholarship on Choe Seung-hui has focused on her world tour of 1938-1940 and her work in Japan and Japanese-occupied Korea prior to 1945. Choe’s contributions to dance creation in the socialist world have been largely ignored. This essay expands on the existing scholarship by using Chinese-language source materials to examine Choe’s career in China and its implications for the connections between the pre- and post-1945 periods of Choe’s career. This essay documents three important parts of Choe’s work in China: her development of China-themed choreography, her adaptation of new dance forms from Chinese opera, and her training of the first generation of Chinese dance professionals. I argue that Choe’s work in China was continuous despite changes in political context. The project that she began in the 1940s as part of the pan-Asianist project of Oriental Dance later transformed by the 1950s into Chinese classical dance under socialist internationalism.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

This study aims at considering on Japanese postmodern dance, by researching Hijikata Tatsumi’s Ankoku Butoh, Dance of Darkness, which is known for most famous avant-garde dance of 1950s in Japan. Hijikata’s Butoh, started with Kinjiki in 1959, was an entirely new dance form having different qualities of expression from the other dances such as classic ballet and modern dance at that time of Japan. Mostly showing the experimental attempt on the stage by ordinary movement from the late 1950s to the early 1960s, Hijikata changed his performing style from his work in 1968, Hijikata Tatsumi and Japanese – Rebellion of Body. That means that Hijikata tried to make his own movement method. This study focuses on ‘Butoh notation’ as the principal reason of changing movement style of Butoh. By analyzing the existence of Butoh notations and contents of them, the research would figure out the actual relation between notation and creation of a new style.