The purpose of this study was to examine the concept of the dance literacy and its components along with the development process of and educational method for the dance literacy using qualitative methods. Six professional dance educators were selected using typical case selection (Miles & Huberman, 1994) and theoretical sampling (Strauss & Corbin, 1998). In-depth interviews were conducted, and the collected data were analyzed by inductive category analysis. The findings of this study are as the following. First, the concept of dance literacy (DL) is the accumulation of the knowledge and competences of understanding dancing and doing it, and the components of DL are dance knowledge and recognition skill (DL for practice), humanity knowledge and inquiry skill (DL for theory), and practical knowledge and conductive skill (DL for integration). Second, the development process of DL is categorized into implicit learning stage, selective perception stage, and spontaneous learning stage. Third, the development methods of DL are dance practice, research on dance theory, and learning through the community of practice. Based on the results, it will be helpful to promote the dance educators’ professionalism, make qualitative changes on dance education, and foster professional dance specialist.

The notational method for Baroque dances, created by Pierre Beauchamps in 1674 and published by Raoul-Auger Feuillet in 1700, was received exceptionally well and understood to be the best method to record Baroque dances during that time. However, it was not until the 1980’s that it was appreciated again, and enjoyed a renaissance. This paper focuses on the Baroque dances choreographed by Guillaume Louis Pécour. There are 539 Baroque existing dance notations and Pécour is recognized as the most productive choreographer in the Baroque era, making 49 dances for balls and 71 dances for theaters. One of his masterpieces, Entrée Espagnol pour un homme et une femme, is analyzed to show the characteristics of his choreography. Pécour’s most notable characteristics in his choreography of Entrée Espagnol pour un homme et une femme, from the Opera-Ballet L'Europe Gallant, was the intermixing of the difficult movements with the easy ones, and the soft movements with the strong ones. For the music, Pécour used a variety of methods and would use three beats in the first part, or in the second part. He utilized these atypical music and dance methods to choreograph technically difficult movements harmoniously. We emphasize the importance of the notation by reproducing the dance choreographed exactly as it was done 318 years ago and analyzing the characteristics of Pécour. Without the notation, we could never figure out how beautiful the Baroque dances were. We expect this paper to encourage further study of Baroque dances in Korea.

As a result of the spread of smart phone, the new communicational tool, SNS is used for diversity part of economy and culture. Among domestic dance compaies, SNS is used for marketing, communication tool for audience. This study aimed to research the domestic dance company’s SNS focusing on Facebook. For this Durpose, the research tools, acting respond indicators (‘Like’, ‘Share’, ‘reply’) were investigated and compared. As to know current state of the domestic dance company's SNS using, researcher could come up with apropriate SNS using tips for the future. In doing so, I selected 10 dance companies in a location of capital area and compared the kind of SNS and choosed 2 major dance companies that were good at SNS. Major research tool was SNS-Current Using State Investigation papers developed by the leading studies and the paper refered to domestic theses, books and academic journals, searching the internet. The suggestion of using the domestic dance company's SNS were as follows: First, the domestic dance company has to upload the latest news, involving beauty value that can give pleasure to Facebook users. And the quality of posting is important. Second, the domestic dance company's Facebook has to leads the Facebook users to reply or share their posting. Third, the domestic dance company's Facebook properly uses the funtion of uploading movies in Facebook.

The purpose of this study was to investigate an aspect of dancing transformation and its social meaning in the late Japanese occupation of Korea. Japanese had strengthened a war footing immediately after the Sino-Japanese War in 1937, and then they had controlled the daily lives of Korean people thoroughly by applying fascism to them. Regarding dancing, Japanese made Korean people be the actual new imperial citizens (Hwang-guk-sin-min) by calling it the national dancing, and Korean people couldn't help adapting to a new system of dancing. The new system of dancing was applied under the name of 'Emotional education for cheerful and rich life', but it was how to standardize Korean people. As for stage performing art, Japanese-oriented performances had appeared and there was A Song of Remembrance for Buyeo (Buyeohoisanggok) as a prominent performance. Buyeohoisanggok was created for 'Korea and Japan are One' policy by the Japanese Government General of Korea, National Total Chosun-Federation, and the Daehan-maeil-sinbo (newspaper), and it was a representative performance of propaganda. In addition, Japanese presumed upon Choi Seung-Hee's ability for Hwang-guk-sin-min and 'Korea and Japan are One' policy. In the early 1940s, she had advocated 'oriental dance' and created lots of performances under the influence of the Greater East Asia Co-Prosperity Sphere. Furthermore, she had donated profits came from performance to Japanese government under the name of contribution for nation, so she cooperated with Japanese half-willingly and half not. Akgeuk, which was the most closely related with the public, also accepted new changes through dance drama. The musical drama played a role of escapeway to forget the pain of the age for a little while through a peripheral stimuli. As the above, dancing in the late Japanese occupation of Korea had been transformed in sympathy with the stream of times.

The purpose of this study is to identify the implications of Jing dance in individual performance of Honam Woodo Nong-ak Pangut which faces the crisis of the tradition preservation through the analysis of socio-cultural context and structure. To be concrete, it specifically explores Jing dance in the style of Park Ok-joo which is derived from Honam Woodo Nong-ak and attempts to understand the inherent implications of Jing dance. Therefore, this study tries to deduce the inherent implications of Jing dance by exploring the life of Park Ok-joo, the socio-historical backgrounds of Jing dance in the style of Park Ok-joo, and the components of Jing dance in the style of Park Ok-joo. The results are as follows. First of all, Jing dance in the style of Park Ok-joo was transformed from the masculine dance which had passed down from old time to the feminine dance. Secondly, it is the technical dance to expand the boundary of stick-stroke. Thirdly, it is the dance of Nanjang (reckless beating) to elicit catharsis. Fourthly, it is the dance of extemporization consist of insertion and competition. Based on the implications stated above, this study provides general basic materials to inspire the attention for Jing dance which has been unremembered for a long time in order to let the legacy continue. It is expected that this study can make an opportunity or opening the new horizon of investigating Jing dance and promoting multifarious follow-up studies as well.

In the second volume of the book Samguk Yusa (The History of Three Kingdoms), Cheoyong appears as a son of the Dragon King of the sea in an era of King Heongang of Silla. He got married to a beautiful wife from Silla. One day, as he came home late, he discovered that his wife was sleeping with a god of epidemic. Looking at the scene, Cheoyong chased away the god by singing and dancing. In this folk tale, the meaning of each characters is interpreted as follows: the god of epidemic means disease, his wife means a patient, and Cheoyong himself means a dance therapist. I approached Cheoyong Dance as an act that he defeated the god. In this paper, I would like to develop a new therapeutic Cheoyong Dance for promoting health by combining traditional Cheoyong Dance and Gigong Exercise. This will be the way to approach the public easily as another role of healthy Cheoyong Dance. The combining Cheoyong Dance with Gigong exercise will be the way of promoting healthy life and wellbeing.

The purpose of this study was to examine the experiences of learning Korean dance among college students in America. The research questions how people of other cultures view changes in Korean dance through study, what beneficial changes occur, and how experiences are meaningful to them. To answer these questions, this study primarily relied on in-depth and semi-structured interviews with college students (4 Americans, 1 Chinese, and 1 African), in Massachusetts, who studied Korean traditional dance through a series of 19 classes, beginning on September 16th, 2014 and ending with a performance on March 3rd, 2015. All interviews were fully transcribed before the files were segmented and the subjects conceptualized using assigned codes. The results of this study are divided into three parts. First, before learning Korean dance, the research participants perceived it to be an interesting but unfamiliar dance, which they recognized from Korean Wave, and an elegant and beautiful dance, different from K-pop. After learning Korean dance, they perceived it to have flow and moderate strength. They believed that it allowed them to recognize their inner consciousness and be aware of their surroundings, facilitating communication with both. Participants also felt that the dance healed the spirit through deliberate movement, that it allowed the body’s energy to increase through concentration, that it coordinated the body’s movements organically, and that it symbolized the lives, philosophy, and respect for creation of the Korean people. Second, participants changed in four beneficial areas through study of Korean dance: 1) their strength, control, coordination, balance, and individual expression improved; 2) their awareness, memory, patience, focus, creativity, ability to communicate, sense of responsibility, mental coordination and control, and thoughtfulness improved; 3) they had a more positive attitude and perspective; and 4) they felt that they embodied the qualities of the Korean people, such as respect, elegance, and slowing down. Third, learning Korean dance was meaningful to the participants in the following four areas: 1) it was a challenge and an accomplishment, 2) they gained familiarity with Korean culture, 3) they became ambassadors for Korean culture, and 4) they felt both special and professional.

This paper investigated the characteristics of guna, which are ritual actions to dispel epidemics, by analyzing the structure of formative meaning and circulation in palmokjungchum (the dance of eight mokjung), the second chapter of Korea’s traditional Bongsan mask dance. Figures in this research depict images of a dance performance that took place on May 31, 1992, which were provided by the Society for Preserving Bongsan Mask Dance. The second chapter of the dance was divided into three structural stages: an appearance of the first mokjung, the one-to-one entrance and exit of the eight mokjung, and the circulating structure of the rotating dance. The findings are as follows. First, the choreography of the first mokjung was incremental, representing the qualities of wood (木), which is one of the five primary elements. The dance during this stage embodies birth and growth through the union of yin and yang and emulates this natural phenomenon. Just as circulation is found in nature, epidemics retreat on their own accord during the ritual of guna. Second, the characteristics of guna are depicted by the one-to-one entrance and exit of the mokjung and by repetition of the same choreography. The entrances and exits are repeated, signifying the circulating relationship of yin and yang. The yin-yang juxtaposition of the mokjung is depicted by different characters, who go back and forth between confrontation and union. This alternation is indicative off the presence of circulation in nature, where time is continuously pushed back and replaced by subsequent time. This concept is represented by the character of guna, who dispels epidemics. Third, the number eight is the number of divination, and when laid out in circular forms, it illustrates the principle of circulation. The beginning and end of the line forms a circle, and the dance by the palmokjung incorporates continuous rotational moves (juibusi) that are reminiscent of the nature-emulating circulation observed in the Cheoyongmu (the dance of Cheoyong). The two dances share epidemic-dispelling characteristics. This indicates that in the second chapter of the Bongsan mask dance, nature’s circulation is a key motive for the choreography, which reveals the righteousness and confidence of nature, unbiased by any of the four seasons. Like nature, epidemics have a structure in which the old is inevitably replaced by the new. The primary characteristic of guna relates to how epidemics retreat from confrontation, where two opposing forces are not able to overcome the other, which is based on the principle of harmonious existence between yin and yang. The objectives of this study were to provide a more insightful understanding of the unique ideas and beliefs inherent in Korea’s traditional Bongsan mask dance and to provide a foundation for more diversified perspectives in the study and understanding of traditional Korean culture.

This study examines the trends related to dance as a performance art during the early period of the Soviet Union, a time in which art was broadly used for public enlightenment, the promotion of socialist ideology, and national integration and establishment in the 1920s and 1930s. Dance in this period will be investigated with the aim of determining who produced and appreciated dance performance, the format and genre of the dance performances, and the themes and contents of the performances. Throughout the 1920s and 30s, efforts were made to develop a new form of art that would be appreciated and accepted by Soviet people from various social classes and would help to lead the newly born country, based on Lenin’s idea of popularizing art for the general public. It was a critical period that shaped the characteristics, format, and direction of performing arts in the Soviet Union. In looking at this period, three phenomena stand out. First, ordinary people emerged as both producers and viewers of the performing arts, and an amateur performing arts group (Soin Yesuldan) became popular. Second, Estrada and folk dance became popular during this period among the multi-ethnic and multi-cultural people of the Soviet Union, which greatly influenced the birth of a folk dance company with ballet choreographers. Third, at a meeting of the Pan-Soviet Writers Alliance held in 1934, Gor’kii M. declared that socialist realism should be the principle for creating Soviet art. Subsequently, young Soviet ballet masters developed new forms of ballet in which the themes and contents were in accord with the government agenda. Dance as a performing art in the early period of the Soviet Union greatly influenced not only the art movements in other socialist countries but also Minjok and Minjung chum in Korea in the 1980s and 1990s. In this regard, future research should investigate how dance formats and characteristics from the Soviet Union have been accommodated and reflected in Korean Minjok and Minjung chum.

Among the songs and dances of the western regions that spread, via the Silk Road, to the central regions, Hoseonmu, Hodeungmu, and Jajimu—which are the “three dances of the western regions”—were widely popular during the Tang Dynasty. For this reason, they have been the focus of many studies in China. In Korea, studies have focused on the similarities between the Hoseonmu of the Goguryeo Dynasty and that of the western regions, and between the Yeonwhadae, which is the Dangak-jeongjae of the Goryeo Dynasty, and the Jajimu. While there have been studies on the songs and dances based on the poetic literature, there have been few studies on the introduction and development of the culture of song and dance. Thus, this paper aims to explore songs and dances that were introduced and developed in the East Asian region through exchanges, considering how they were first introduced and then expanded to the central regions by focusing on the three major western dances: Hoseonmu, Hodeungmu, and Jajimu. The songs and dances of the western regions were introduced to the central regions long ago, and it is not clear when the different songs and dances were introduced. Since Gyobanggi and other records state that many western songs and dances were found in Geon-Mu and Yeon-Mu, which were representative court songs and dances during the Tang Dynasty, it is clear that the western songs and dances were introduced to the central regions before the Tang Dynasty. Historical records indicate that the cultural exchange of songs and dances between the two regions started during the Han Dynasty, were promoted during the Southern and Northern Dynasties, and reached their peak during the Sui and Tang Dynasties. Hoseonmu, Hodeungmu, and Jajimu held the unique spirit of the western regions and spread from the major cities to Chekiang and from Haizhu to Szechuan, influencing not not only Gyobangs but also military camps and even the nobility. In doing so, they converged with the songs and dances of the Han people in the central regions. In this regard, it is safe to say that the introduction of western songs and dances to the central regions had a great impact on the development of songs and dances in the central regions during the Middle Age. The songs and dances of the western regions converged with those of the central regions and created a new culture of song and dance. By increasing the popularity of these songs and dances, which were mostly court music and dances, a new singing and dancing culture was created that everyone could enjoy. This article focuses on how the three dances were introduced to, and developed in, the central regions. Studies are required on how they spread to, and were transformed in, other regions.