Requirements of research ethics education depend on leaners' position and major. This article investigated issues of dance, which is in distinctiveness as science of arts, as well as research ethics education, and then considered direction of education. Firstly, one of the issues is articles on a living person. We need to prospect contemporary artists but have to get out of directly hierarchical relationship. When viewing the person objectively, we can secure neutrality. Secondly, it is awareness as 'a scholar' who interacts with dance places and mediate between theories and the place. Lastly, it is plagiarism. Artists would know it in both works and articles. Plagiarism is the field which is prone to be infringed widely in both of them. To solve these issues of dance studies, education direction of research ethics should reinforce its subject, mark the writer rightly, and commonly use checking system of articles similarity for preventing plagiarism in advance. Subject of current research ethics should consider distinctiveness of dance studies and I wish it leads to training needs of dance studies intensively.

This study is on the eco-art from two dimensions, intentional and unintentional. As the cases of unintentional eco-art, the summer and winter ceremonies of Kwakiutl on west of Canada, written by Eric Wolf, and the winter ceremony Smila(Spiritual Dance) and related dances of Chehalis Indian Band are being considered. Unintentional conceptualization and realization as eco-art are investigated. The other one is on the intentional trials in contemporary societies for the integration of ecology and art. Cases of ‘performing nature’ are interpreted. Maehyang ceremony in Muan-gun tidal flat and related dance are considered. Rituals of Kwakiutl and Chehalis tell dances, as essences of rituals and as the subjects of expressions and communications, exist. The dances exist as the arts realizing relations between natural beings and human beings, realizing the transformation of natural beings, of human beings, of relations between human beings. Ecological relation between nature and man are realized from the immediate feeling and perception of bodily experience. The meanings of the relation are also produced from the feeling and perception. The term and concept of eco-art do not exist in these rituals. But realizing process of ecological relation and interaction is also the one of eco-art unintentionally. Body and dance are main subject and mediate of the process. Recently eco-art, the term has been used by some scholars and artists. But, in many cases the term is not used actually realizing eco-art. Some trials of modern art as ‘performing nature’, Maehyang ritual and dance as reinvented one composed of partial ideas from trasitional one are those realizing the issues and ideologies intentionally. As common phenomena in the two dimensions eco-art expresses ecological ‘relations’, not merely depicting nature. Commonly too, materiality of body and things on nature and human life, feelings and perception of them form the ecological relation.

An English terminology ‘community dance’ could be translated into Korean “Ji-yeok-sa-heo-ui-chum (Dance based Community)” or “Gong-dong-che-ui-chum (Communal Dance).” These kinds of community dance including “Ji-yeok-sa-heo-ui-chum” or “Gong-dong-che-ui-chum”, were nothing new at all, because they have been existed in every society and in every time. However, with boom of community dance in current Korean society, most Korea people are expecting that there are specifical meanings like ‘public concerns’ and ‘artistic value.’ Therefore, the purpose of this study is to define meanings of community dance while how this terminology is consumed by both in Korean popular society and Korean dance society. For this purpose, the researcher uses date analysis methodology. That is, the researcher analyzes data of news clippings and dance research list concerned with community Then, the researcher sums up the brief history of Korean community dance with external and internal approaches. In the historical approach, the researcher argues that how the term and methods of England community dance were combined with Korean communal dance. In the conclusion, the researcher suggests perspectives of Korean community dance.

Political stability and economic surplus in the late Joseon Dynasty accelerated the negotiation of traditional dances in the context of the demand of popular culture, increase in the desire to make art, and awareness of popular art. Such negotiation aspects became more distinct with the revitalization of the Seonsanggi system and stronger roles of the middle class. Particularly, the middle class was changed into the manager, enjoyer, and doer of dance culture with the movement of elevation of social status in the 18th century. They were the actant that laid foundation for dancers to meet their dances. The principal media of transformation in the dance culture formed between the court and the people, between surface and substratum, and between upper and lower classes were Gyoang and government-sponsored gisaengs. They created their own dances with such an axis as the center, which increased the number of each dance and gave birth to the advancement of dance history. What offered the core channel to the cultural diversity of traditional dances in the late Joseon Dynasty are the Seonsanggi system and the middle class. Gobang contributed to the birth of various dances as well as gisaengs of great dances. 18th century was the time for preparation of negotiation for others’ dances due to cultural diversity phenomena in the late Joseon Dynasty. 19th century was the zenith of desire for expression of dances in which the aspects of negotiation started in earnest.

The purpose of this study is to analyze and organize verbal descriptions articulating dance movements as a method to pass down a basic dance that epitomizes the unique stylistic features and techniques of an individual dancer in the contemporary and modern times when Gujeonshimsu(handing down orally and instruction with spirit) is the general teaching method in Korean dance education. The late Korean dancer and choreographer Choi Hyun is renowned for his commitment to performing and directing various genres of dance as well as nurturing students. As a highly acclaimed Korean dancer, his unique dance movements and skills are well worth being preserved for future generations. In this regard, this paper presents a method to hand down the legacy of Choi’s dance by classifying representative movements and techniques from his basic dance that integrates the creative skills and movements found in many of his performances, and by systemizing verbal descriptions of those movements. To that end, key movements of Choi’s dance were classified and their verbal descriptions were analyzed through examinations of previous studies of his dances, an analysis of his performances on video, and an empirical analysis on the repetitive practice of mimicking his moves. A summary of these research findings suggest the main features of Choi’s dance as described by previous studies as follows: artistic dance with transitional characteristics both contemporary and modern; theatrical expressionism; harmony between masculine and feminine; charm of impromptu motions found in Deotbaegi-chum, a representative dance of the Gyeongsangdo region; the inseparable relationship with music; upright postures and curved arms; metaphysical joy and flavor; and the beauty of emptiness and romanticism, etc. The movements featured in the videos of Choi’s dance performances are analyzed based on what characterizes his dance as found in previous studies. According to the results, the movements are largely classified into three categories: whole body movement; upper body movement; and lower body movement. With each category having four subcategories, the movements are classified into a total of 12 forms of movement verbally described. The whole body movement is demonstrated in four techniques: left and right body swinging and upward and downward closing movement; slight forwards and backwards walking with alternate leg crossing; fierce upward and downward body movement; and closing movement. The upper body movement is classified into four postures or movements: waist twisting; head tilting; circular arm movement; and cross-winding both hands. The lower body movement is displayed in four techniques: legs kept together and legs kept together while standing; short steps; low jumps; and legs-together standing posture. In conclusion, to identify the key elements of Choi Hyun’s basic dance movements and systemize verbal descriptions will be one of the ways to transmit the artistic value of his unique dance performances.

This study is the first step to build electric culture map in advanced form with the topic of korea intangible cultural heritage dances. It aims to search for design methods for electric culture knowledge map. In order to achieve the objectives of the study, the present status of electric cultural knowledge map design methods was researched. After identifying the problems and systems of cultural heritage from Cultural Heritage Administration, the directions of electric cultural knowledge map design were suggested. As a result of study, the electric cultural map attracted interest and attention from domestic academic circle since ECAI started in 1996. And then it has expanded to humanities, geography, history, folklore, etc. Accordingly, the development of useful electronic cultural map was required as a new form of dance history and research tools in the field of dance. Second, as a result of reviewing the cultural heritage map from Cultural Heritage Administration, the cultural heritage map reached the current advanced level by building nation-designated cultural heritage information with electric cultural map over about 10 years since 2002. It also provides with movies, photos, monographs, etc. visually. However, the vast amount of troubles was found from search index, types of cultural heritage, location expression, distribution, information error, etc. They are the errors which occurred in the middle of building and classifying a great deal of data. Classifying system of easy search and multi-functionality was required. Third, the korea intangible cultural heritage suggested as problem recognition, electric cultural knowledge map of dance targeted only intangible cultural heritage dance to improve information provision. Linking to professional academic information like paper, it provides integrated professional knowledge, which is a dynamic content. Therefore, according to designed system, area classification and input guidelines were suggested as examples. Virtual map was realized to identify the potential to build electric cultural knowledge map of dance.

The purpose of this study is to analyze the images of dancing women in the Korean novels from the 1910s to the 1950s and to investigate the relevant social discourse and cultural context at that time. This study focuses on the Korean novels as the research materials and the media to reflect the people’s awareness and social aspects of the times. The 6 novels selected through the material collecting process over 3 sessions are 『Moojeong』, 『Bokdeokbang』, 『Mooseong-gyeokja』, 『Seoul』, 『Sawhasan』, 『Silbimyeong』. The substantive characteristics and relational characteristics of dancing women appeared in the novels are arranged by type through text analysis. Their social implications are also explored. As a result, the images of dancing women appeared in the Korean novels are as follows. First, as the substantive characteristics of dancing women in the Korean novels, the number of dancing women appeared in the 6 novels is total 8. Their occupations and social activities are found to be Gisaengs, dancers, the students to prepare for being dancers. Second, as the relational characteristics of dancing women in the Korean novels, the relationships between main characters and dancing women are found to be classified into sexual relations and familiar relations. Third, the social implications of dancing women in the Korean novels are deducted from the opposite social awareness on Gisaeng and modern-girl dancer and the demands of the times on dancing women. It is expected that dance culture research would be enhanced and the close relationship between women and dance would be investigated if the follow-up studies to analyze the contemporary novels from the 1960s to the 2000s with the identical standards to this study are conducted. In addition, it is also expected that this study can contribute to the research on the Korean modern dance culture.

This postmodern era that we live in has its characteristics of eradicating the boundaries between forms of art. In this movement, where pure art and popular art are actively fusing and the importance of popular dance is becoming apparent, this paper has been developed to study a representative case on popular dance. For research methods, case studies and Dance Analysis has been combined. Case studies on idol related publications and thesis papers were used to demonstrate concepts and characteristics of popular art and idols. With Dance Analysis, details of has been examined. To accomplish this task, details from news articles, pictures, music videos, and stage clips has been reviewed and the four stages of Dance Analysis, describing the Components of the Dance, Discerning the Form of the Dance, Interpreting the Dance, and Evaluating the Dance has been applied. The three following conclusions can be drawn from this study: First, the dance emphasizes cuteness and sexiness to attract male fans. Second, the dance moves are highly repetitive, which makes it easy to pick up, appealing to the mass, exciting and enjoyable with popularity. Third, the easy-to-follow moves are friendly and makes the spectators join to develop an extraordinary feeling of group cohesiveness. In this culture, popular art has significant influence on people. I earnestly hope that this work could offer a complimentary vision for popular dance to rediscover its true meaning and value and elevate its status to a inspiring dance.

This study extracted the literary figuration of the Sleeve Dance (袖舞) from the literature collections of Joseon Dynasty, and explored its meaning and style. As a result, the study extracted not only ‘Jangsu (長袖)’ and ‘Chuisu (翠袖)’ with connotative meanings, but also ‘Bun (飜: Bunyeon 飜然: Yeombun 艶飜)’ and ‘Pyeonpyeon (翩翩)’ the specific descriptions for fluttering sleeves, and ‘Pasa (婆娑)’ the description for non-conventional dance. After exploring the meanings of their origins and exemplary standards, the study emphasized that ‘Jangsu’ should be considered not only the shape of a long sleeve but also a gorgeous sleeve dance of a beautiful dancer, and ‘Chuisu’ should be considered not only the color of a green sleeve but also an excellent sleeve dance of a pitiable dancer. The study also confirmed that ‘Bun’ was a general description for a fluttering sleeve, ‘Bunyeon’ was a description for a sleeve fluttering high enough to touch the sky and changing very quickly, ‘Yeombun’ was a complex description for the combination of a beautiful dancer and beautiful sleeve, ‘Pyeonpyeon’ was a description for a very thin and light silk sleeve fluttering like a butterfly, and ‘Pasa’ was a description for a sleeve movement which was more rough and non-conventional than an ordinary sleeve dance which generally moved light and swift. Those descriptions were confirmed to be based on the standards from the Classic of Poetry (詩經) and Tang Poetry (唐詩), and these phenomenons were confirmed to be the part of Classicism (擬古主義). This study has significance to bring ‘Sumu’ in the center of discussion for the first time in Korea

To investigate dance graduates current state of employment, preparation process for the foregoing and job satisfaction, this study selected 108 graduates who graduated department of dance within three years as subjects of study. After establishing two study questions according to the purpose of study, this study used a questionnaire composed of total 22 questions. This study carried out descriptive statistics, frequency analysis, reliability analysis and correlation analysis using SPSS Win 18.0 program to analyze all data collected, and results are as follows. First, about 54% of graduates are getting jobs in the field of performance including dancers and choreographers as types of employees, and their monthly average income ranged from more than 1 million to less than 2 million. And responses that development of ability in the field of major is the most important for employment and prepared more than three years were the highest. As for the route of employment, about 59% were receiving help from introduction of acquaintances. Second, results of descriptive statistics on job satisfaction show that occupational profession was the highest amongst job satisfaction, and human relations, social appreciation and support and satisfaction of economic income followed in order. And a high degree of correlation and significant differences were also found in four constituting concepts and each subfactor of job satisfaction.