Copyright refers to the exclusive and monopolistic right, being given to the creator of creative works that includes literary, artistic or musical ones. According to the present copyright law of South Korea, dance is categorized as a kind of theatrical works, but it is necessary to discuss whether or not such a classification is appropriate. Of course, both a dance and a theatrical work can be classified into performance arts as the two genres are most closely adjacent to each other. Since dance and play have their distinct characteristics as unique genres, however, the application of a copyright should be made from different perspectives. This study aims to examine the importance of establishing professional and concrete regulations with regard to the dance works and discussing what to consider for that purpose. One of the foremost and top priority concerns for the dance works in the nation is that the domestic dance community should come up with its own copyright regulations independent from the theatrical works. As the present copyright law for the theatrical works does not consider the unique characteristics of dance such as choreography, it is hard for the domestic dance community to properly claim and exercise its rights. Therefore, independent copyright regulations are urgently needed to protect the specialized rights for the dance works apart from the theatrical works. As part of the efforts to better protect the rights for the dance works, it is also necessary to submit the storyboard of choreography or the video clips to help meet the requirements of the copyright law. It is necessary to reestablish the proper regulations for the copyright for dance after having technically and concretely examined the characteristics of dances performed in the nation and ultimately to work for the revision of the current copyright law for dance.

This study summarizes issues related to copyright issues around dance or choreography in Korea. As a result of analyzing 42 previous studies, which was searched at RISS(Research Information Sharing Services), three major issues were aroused. First, the concept of dance copyright should be defined more clearly, and the requirements for recognition of creativity in dance works should be clarified. Second, in order to activate dance copyright protection, it is necessary to fix the ephemeral phenomena of dance in tangible media. Third, dance copyright is classified as a dramatic works in Korean Copyright Act, but the term is not appropriate. The main contents of this discussion reviews copyright law and precedents of each country, including Korea. Based on these discussions, a suggested improvement plan for the protection of dance copyright is proposed.

Recently the copyright issue in the traditional cultural field is being discussed due to the copyright claim on traditional dance. The copyright norms is unfamiliar to those who are engaged in traditional cultural fields in Korea. Despite this unfamiliarity, the number of cases in which copyright law is applied to the field of traditional culture is increasing. The copyright cases that have occurred in the field of literary works such as books in the past are now spreading to art, music, and dance. In this article, I have discussed some issues in judging the creativity and substantial similarity of cultural heritage-based works through representative cases of art works and musical works related to intangible cultural heritage. The copyright system is based on the assumption that a specific author has exclusive copyright for the work. On the other hand, many cultural heritages presuppose that ‘communities or groups’ have created, maintained and propagated them, and it is not easy to identify copyright holders because their boundaries are ambiguous. In addition, in order to establish an exclusive right such as copyright, a clear boundary must be set for the work, which is an object of rights, but the boundary of the traditional culture that has continuously changed from the past is not clear. Therefore, I suggest the open source model as an alternative to exclusive copyright.

The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

The study examines Sartre's existentialist philosophy and Ericsson's theory of self-identity development in order to understand and advocate the need for elementary school dance education. Movement through the body can develop self-identity. This is because physical expressions that expose the interior to the outside help to autonomy and achieving. By expanding physical abilities and improving expressiveness, a child can develop his or her own identity. Considering that children grow up amid various social influences such as school life, an appropriate dance education is needed to help elementary school students to culture a healthy self-identity. Dance education provides an aesthetic experience for children to come into contact with society, and affects not only reflexive thinking but also self-identity. A proper approach to dance education in the elementary school years, when children experience sociality after infancy, will not only achieve balanced development, but also contribute to the complete self-identity of the child.

By 1979, 95 culture and arts centers had been established, and there was an increase in the number of these centers every year from then on. In 2016, there were 229 culture and arts centers nationwide. The culture and arts centers established with the support of the government, needed the management of operation to suit local characteristics and environment with the lapse of time. To examine the operating state of dance performances of culture and arts centers, this study dealt with the performance record of the field of dance in performance halls from 2011 to 2016. Region, operator, and year were selected as demographic variables to make a comparative analysis of the trend in the changes of the variables. SPSS 21.0 was used to perform computational processing. The findings of the study were as follows: To the performance record of the field of dance in the performance halls, the total yearly number of dance performance cases was a mean of 2.6. and the total yearly number of dance performance days was a mean of 3.3. and the total annual frequency of dance performances was a mean of 3.9. Concerning the rate of paying audience in the area of dance, it stood at a mean of 15.2 percent, and was highest in Seoul. As the results, the number of dance performance days and the frequency of dance performances were low relatively to the number of dance performance cases compared to those of other genres. It implies that dance performances are given just on a temporary basis. Performance facilities that are tailored to the specificity of the genre of dance are necessary, and careful performance planning and assistance from the government are both required to ensure the continuity of dance performances.

The purpose of this study was to investigate the effects of professional dancers' achievement goal orientation and self-management on their dance commitment. Subjects of the study were professional dancers working in one of the national, provincial, and municipal professional dance organizations located in Seoul, Kyeonggi-do, Incheon, Gangwon-do and Chungcheong-do, as of 2019. For the data collection, questionnaires based on self-administration were distributed to the study population. 325 samples were collected and used for the data analysis. Corelation analysis and multiple regression analysis were employed, and each hypothesis was tested at the a=.05 level of significance. Through these research methods and procedures, the following results were derived: First, self orientation of achievement goal orientation showed to have a significant effect on all of the subsidiary factors of self-management: mental management, personal relations, training management and physical management. Task orientation was found to have significant influence on mental management, and physical management. Second, self orientation of achievement goal orientation appeared to have significant influence on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. However, task orientation did not show any meaningful effect on any of the subsidiary factors of self-management. Third, subfactors like training management, personal relations and mental management of self-management turned out to have a meaningful effect on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. These results proved that professional dancers' achievement goal orientation and self-management were the factors that were significantly related to dance commitment. Therefore, as the higher and better the professional dancers' achievement goal orientation and self management are, the better their commitment to dance become, it will lead dancers to higher degree of perfection of dance performance and consequently bring high quality of performance to their audience.

Since the rise of ‘dance studies’ as an academic discipline in Anglo-American dance scholarship in the late 1980s and 1990s, interdisciplinary methodologies borrowed from cultural studies have been dominating the field, generating valuable research that places central focus on the role and value of dance and/or dancing/moving bodies in ways that transcend and traverse the disciplinary boundaries between sociology, politics, and aesthetics. In more recent years, however, such theoretical interdisciplinarity itself has, to some extent, become a burden for dance scholarship, at times distracting researchers from focusing on the core concepts, viz. dance and the body, and at the cost of a balanced adoption of interdisciplinary and medium-specific methods. Accordingly, this paper focuses explicitly on these concepts, selecting three key studies on the themes of dance and the body–in particular, the works of Janet Lansdale, Susan Leigh Foster and Body-Mind Centering®(BMC)–to reveal how each exhibits different yet somehow interlinked interpretations of dance and dancing/moving bodies. To this end, the paper examines three key concepts: (1) Lansdale’s understanding of ‘dance’ as a performance piece; (2) Foster’s concept of ‘dancing’ and ‘dancing bodies’ as a performing act involving active agency; and (3) BMC’s idea of ‘mindfully moving bodies’, which highlights the interconnectedness of and interactions between body and mind. Through comparative evaluation, the paper demonstrates the distinct ways in which each discourse perceives dance and the body in relation to processes of thought and mind, revealing how dance and/or the body play an active role in shaping discursive thought, socially contingent knowledge, and human wisdom. In doing so, the paper reveals the diverse forms of knowledge that dance and the body bring out, in the process highlighting the enduring effort (intentional or unintentional) to construct renewed discourses and disciplines that challenge the long-standing western dichotomy between body and mind.

This study probes how the notions of choreography has formed and changed in relation to dance notation. Two manuscripts, not by accident identically titled, are examined— Chorégraphie by Raoul-Auger Feuillet and Choreographie by Rudolf von Lavan—with regard to their respective understandings of the principles of dance and their socio-political contexts. This study brings Feuillet and Laban into a historical perspective beyond the previous literatures that solely focused on either of them. In Feuillet, choreography was defined as the composition of dance by means of notation. The space for dance was identified as flat and rectangular one, which led to the principles of ballet with the emphasis on geometrical shapes, establishing the two-dimensional plasticity as the aesthetic norm of the time. The act of composing dance by notating movement accompanied the emergence of the choreographer-subject which objectifies bodies of dancers, and thus the invention and development of dance notation was supported by the absolute monarchy out of its interest in the absolutistic body available to be controlled and disciplined. Laban developed the concept of choreography as the notation of forms and qualities of movement in space harmony. Laban theorized scales and rings in crystal space as new principles of movement, founding three-dimensional plasticity with its unceasing mobility as the aesthetic norm of modern dance. Complying with modernist ideal of progress and efficiency, Laban also applied his principles to choreograph movements of industrial bodies. Addressing manuscripts of Feuillet and Laban, and their contribution to the historical formation of the notions of choreography, this study unfolds the concepts of choreography in multilateral contexts, complementing and surpassing the prevalent, literal understanding of its meaning as dance-writing, which will provide the cornerstone for elucidating the historicity of choreography leading up to the present.

This paper aims to develop the content of local dance through music and dance in the Baekje period. First of all, it is necessary to research articles on musical instruments during the period. According to precedent research, there are either nine or eight types of wind instruments: jeok, so, saeng, ji, dopipilul, makmok, kak, wu, and baekje-saenghwang; seven types of string instruments: pa, wanham(3 strings), konghoo, sukonghoo, keum, jaeng, and baekje 8 hyonkeum; and two types of percussion: ko and yoko. These instruments number eighteen or seventeen in total, and the tones are clear and elegant. Today there are A-ak and dance in the ancestral ritual for Woongjin Baekje five kings as the content of music and dance in the Baekje period. The resource of them was brought from A-ak of Kook-jo-o-re-ui written 800 years after the Baekje period. However, the time period between them is too distant, and several instruments among A-ak had not existed in the Baekje period. There are few Korean references which can be traced back to the Baekje dance. Therefore we could should refer to Japanese dances such as Sinsoriko and Onintei, created by people a man from Baekje and originated in Baekje. Those dances are still practiced and passed down to new generations in Japan, thus we can develop the content of the Baekje court dance incorporating elements of the two Japanese dances. The Baekje court dance can be choreographed with some constraints. Music should be played by three to five musicians, dancers should consist of two to six performers, and the range of movements is also guessed. This content will be different from established works and unique, if it is utilized for the pre-ceremony dance of the Baekje ancestral ritual, or for performances about Baekje.