Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.

The period from the late 1930s through the 1940s was a tumultuous time in China because of two devastating wars—the War of Resistance Against Japan (1937-1945) and the Chinese Civil War (1945-1949). This essay examines the impact these wars had on concert dance, at the time still a newly emerging art form in China, by examining the case of Liang Lun 梁倫 (b. 1921), a dancer from Guangdong who began his dance career during the 1940s. Although Liang is widely considered to be one of the founding figures of modern Chinese dance, he has received almost no attention in the English language scholarship. This essay thus serves as a preliminary examination of Liang’s early choreographic repertoire, as well as a reflection on the ways in which Liang’s experiences reflect broader trends in Chinese dance during the wartime period.

This paper looks at Formosa (2017), the last full-length dance work by the founder and artistic director of Cloud Gate Dance Theatre of Taiwan, Lin Hwai-min. As a former writer and trained journalist, he is a socially aware choreographer who expresses his concern for his society through dance. I first contextualize his oeuvre with his earlier pieces based on the theme of Taiwan such as: Legacy (1978), Portrait of the Families (1997), White Water & Dust (2014 double bill), and Rice (2013), leading up to this full-length multi-media production. I also explain the hybridized Cloud Gate corporeal training from the East (e.g. taiji daoyin, Chinese martial arts) and the West (e.g. ballet, Martha Graham modern dance technique), as I unravel how Lin Hwai-min executes his citizenship through choreography.

This case study research aimed to analysis the dance program to heal the unstable emotions of teenagers who experience school violent. The dance program was held at the A Welfare Center in Seoul for 10 sessions, 100 minutes per week. The program has improved the participants' unstable emotions and negative self-image. Participants want to express their feelings in a healthy way and find the positivity inherent in them. And they tried to improve their social skills by improving self-expression. After finishing the program, participants recovered the violence, depression and low self-esteem caused by wounds to the body and mind. It is meaningful that it has a positive effect on healthy relationships by learning how to communicate with other friends.

This study aims to reorganize the chronology of the deceased Kim Suk-ja's life as a dancer, the holder of the National Intangible Cultural Asset No. 97, Salpuri dance. In particular, the chronologies of Kim's dancing activities presented in the pamphlets of her memorial concert which has been held for 10 years after her death show inconsistency and errors. Therefore, this study attempts to correct them. She had carved a place for herself as a traditional dancer while doing activities as a Shamanic dancer in Seoul since 1976. As a result, part of her chronology that displayed the schedules of her activities since then was made public by newspapers and therefore is reliable. On the other hand, information on dancing-related activities from the Japanese colonial era to the 1960s by Kim Suk-ja, who was born in 1927, is unclear. Her chronology during this period does not sufficiently reflect her dancing activities or provides incorrect information. Therefore, this study corrects and reorganizes her aspects of learning dances during her early years and information on her activities in Daejeon from historical contexts.

The contemporary notion of choreography as a structural system of human movements in diverse contexts becomes radically challenged in the context of digital performance. Digital performance works that do not necessarily have human dancers, but instead present digital images and sounds can hardly be seen as choreographic practices in an orthodox way. In this article, I primarily investigated how the notion of choreography is reframed in the context of digital performance by delving into the entanglement of choreography with a computational system. In creating an human-computer interface, choreographers shed light on how the human subject is perceived, cognized and embodied through the entanglement of its corporeal body and the machine. Then, their choreographic sensibilities substantiated in the interface design process do not constitute embodied knowledge of the human body as a biological organism, but that of the posthuman body as an integrated being of the biological and the mechanical. In this sense, I argue that postchoreography as a mode of choreography for the posthuman necessitates the understanding of how a machine perceives a physical input and acts upon a virtual world.

This study mainly focuses on audience development of dance festivals by applying 7Ps Marketing Mix in the Seoul Dance Festival, which is the first dance festival in Korea. The whole performances in the 39th Seoul Dance Festival(2018. 10. 22 - 12. 04) were sold out, and the festival was evaluated as one of the most successful dance festivals in its history. 7Ps Marketing Mix is the set of marketing tools consisting of Product, Price, Place, Promotion, People, Physical Evidence and Process. According to this analysis, the festival has succeeded because of its qualified programing, aggressive promotion, well-equiped venues, suitable environment, well-trained staff and reasonable ticket prices. To enhance its popularity for the dance festivals, the festival shall collaborate other dance groups which would open their shows during the festival period, manage specified SNS contents, plan the outdoor events before and after the main shows to set the festive mood, make the specialized ticket prices for the festival, manage volunteers more effectively and adopt e-ticket reservation system. This study aims to be a basic marketing resource for the future audiences development in the Korean dance festivals and the dance field.

The purpose of this research is to provide insights into the essence and value of dance education by describing the teaching experiences through an auto- ethnographic method. It is difficult to find researches on the overall teaching experience ranging from early childhood education to college education. Having experienced child dance class, elementary school dance class, and college movement class, I seek to find the desirable education and its significance for students while reflecting on dance teaching method and its meanings. Students get interested in their body parts, and they learn how to communicate and share their feelings with others through dance education. The performance experiences as a dance teacher are as follows. First, a natural culture at home or a home atmosphere has formed through learning-by-playing. Second, my first part-time class has led to my lifelong workplace and developed functionally. Third, I have found that a strict discipline in a dance class could give difficulties for students to express freedom. Fourth, a dance class that gives joy and pleasure changes students’perception of dance, makes them more interested in their bodies, and have more confidence with dance. In conclusion, I have realized that a dance class enables students to widely understand various emotions expressed by the body, discover ‘self’ through this process, and it can be developed into a means of communication to form a community spirit.

This study focused on the fact that both dance and calligraphy have a common formal concept with harmony, balance, and rhythmical beauty as the long-standing traditional forms of art in the Eastern world. First, the study examined the relationship between dance and calligraphy by looking at old literature and successfully identified the common ‘formal concept of beauty’ they shared. During the process of understanding calligraphy, the study noticed that the emotions which occurred while moving the brush were not much different from the emotions that arose when the dancer moved their body to express a certain movement. It was found that the contents and the emotions that occurred during the creation phase of dancing and calligraphy were almost identical. Instead, the sole difference was that calligraphy used the movement of the brush, while dancing utilized the movement of the body and the eyes. This suggested that dance and calligraphy shared the concept of beauty of ‘form, harmony, and control.’ With this result, the study suggested that the art of calligraphy and dancing had a possibility to be performed together in various ways under harmony by creating an environment that allowed artistic cooperation.

With the prosperity of Chinese folk dance creations, especially the development of the dance performances represented by the Lotus Awards and Tao Li Cup, the technical skills of national folk dances are further promoted to a new height. Its development, however, generates two problems. First of all, the technical characteristics of styles are diminishing and tend tocome be homogeneous. Second, the pursuit of techniques with ultra-high difficulties makes the creative vocabularies hollow and devoid of content and typicality. This paper adopts the methods of investigation, observation and literature research to analyze the related technical skills in the creation of folk dances in Chinese dance circles. The purpose is to emphasize that the creation of Chinese folk dances should be traced back to their origins, and to bring forth new ideas in three aspects: stylization, emotionalization and artistry, starting from the characteristics of technical skills. In order to break through, its form should be more epitomous in culture and more typical in aesthetics. Only in this way can the technical skills of Chinese folk dances become truly prosperous.