This paper discusses the impact of invigoration of regional dance on the basis of the need to construct the Korea National Dance Center. Under the premise that the Korea National Dance Center will establish branches in various regions along with a headquarter in Seoul, the impact on regional dance revitalization would include specializing regional dances, fostering local dancers, supporting programs that promote regional dances, developing networks between regions or at home and abroad, promoting theories and criticism of regional dance, and creating dance related jobs. The Preparatory Committe for the Korea National Dance Center is hoping that the center will provide a way to overcome much of the structural problems of the Korean dance field and overcome the field’s overall imbalance. In particular, it can have a more encouraging effect on invigoration of the dance field in each region as well as in Seoul, and this will naturally help to establish the global competence of Korean dance by distributing and expanding Seoul-centric activities across the country. In order to do this, rather than looking at the profits and losses of each dancer, it is necessary to make public voices for the entire dance field.

This study identifies the current status of dance departments at universities in Daegu and Gyeongbuk and to raise the need to improve dance education programs and to seek a change in educational direction for dance departments facing the crisis of the abolition at the local universities. Starting with the department of dance at Hyosung Women's University (currently, Daegu Catholic University), which was established in 1974, the department of dance was established at Keimyung University (1984), the dance major at Yeungnam University (2002), and the department of practical dance at Daegu Art University (2004) in succession. The dance culture of Daegu and Gyeongbuk was formed and developed through dance education and creative activities have been centered on these universities. Today, however, with the rapid decline of the school-age population and the university restructuring policy, the dance departments at local universities face a crisis through the abolition, unification, downsizing of undergraduate majors and reform of specialty majors. Therefore, if the departments of dance at the local universities establish a step-by-step educational program that considers not only the admission process, but also student’s employment after graduation, and expand programs such as directing, management, stage, lighting as well as practical education centering on fine arts, and if each university presents a paradigm of specialized education to expand investment in creative dance education and to develop a new dance education ecosystem through the formation of a network between departments, community education institutions, and regional art creation agencies, they will grow into a continuous and future-oriented dance departments at local universities.

The purpose of this study was to examine the cases of community dance in America and to find out how to revitalize local dance. For this purpose, Marylee Hardenberg, who played a major role in the Mississippi River revival through a site-specific dance performance, Pat Granny's Dance program for Prisoner called 'Keeping the Faith' and Brooklyn's Care for the disable in a community dance program by Mark Morris were examined. In conclusion, the methods of activating local dances include first, use of specific places to create site-specific performance, second, development of programs for prisoner which can communicate with local publics and third, development various community dance program for disable.

The purpose of this study is to investigate the influence of empathy ability on dance emotion and dance expression of college students. The subjects of this study were 169 college students who majored in modern dance at each four universities in Seoul, Busan, Gyeonggi, and Jeolla provinces. The survey tool used a empathy ability, dance emotion and dance expression questionnaire, and collected data were analyzed by frequency analysis, correlation analysis, t-test, ANOVA, and multiple regression analysis using SPSS 21.0 program. As a result, first, students of modern dance majors had high physical expression ability in boys and 9~11 years in dance participation period, and high cognitive ability in 4th graders. Second, the empathy ability of college students of modern dance major had a significant influence on fun, vitality, pride and achievement. Third, empathy ability of college students of modern dance major had a significant influence on dance expression ability. Fourth, the fun and vitality of dance emotions of college students had a significant influence on the performance of dance expression. The results of this study are expected to provide basic data for teaching dance expression in the curriculum of modern dance majors.

The purpose of the current study was to investigate the relationship among body composition, bone mineral density(BMD), career and eating attitude in Korean traditional dancers. Seventy three dance major female college students were recruited in the current study. The body composition variables such as body mass index, percent body fat, total body water, fat free mass and basal metabolism rate were assessed. Data were collected from Anorexia Bulimia Inventory(ABI) questionnaire and BMD was measured using Quantitative ultrasound. T-score was used as an index of BMD. Analysis of confirmatory factor, multiple correlation, multiple regression, and Dubin Watson test were applied for the statistical analysis using SPSS 23.0 windows. There was statistically significant correlation between dietary control and BMD of eating attitude negatively and depressed mood about Career positively(p<0.05). In the result of regression analysis, dietary control and depressed mood were the coefficient determination in BMD and Career. In conclusion, the current study suggested that the perception of healthy body weight was required for dance major female college students.

In this study, the teacher researcher participated in the dance education workshop as a learner to expand the awareness of the value of dance education. I revealed the story of my experience as a learner, and shared the principles and values of dance education found in the experience. For this, the teacher researcher participated as a learner in the dance education workshop organized by S-group and conducted a 'self narrative study' that explored my experience narratively. The principles of dance education found in the workshops experienced by teacher researcher are as follows. I was able to explore the principles of ‘community learning’ which enables people to communicate with others, and ‘active learning’ that the learners experienced and realized by themselves. The values of dance education found in this workshop experienced by teacher researcher are as follows. The experience of interacting with and others has allowed learners to develop their knowledge processing and problem solving skills while understanding others' movements, and to develop their self-management and creative thinking skills while telling their own stories. This body dialogue also allowed them to enhance their communication and community competence. Based on the results of this study, we can find the possibility of human education and competency education of dance education. We suggest the systematic implementation of dance educator and the development of related governance awareness opportunities for expanding the value of dance education.

The purpose of this study is to suggest the direction of disability dance education by analyzing disability dance education research trends. Among the papers related to disability dance education registered in the Korea Education Research Information Service, 46 papers published, which were published from 2010 to October 2019 were examined, through content analysis and keywords analysis. As a result, the research scope has been expanded to the emotional, physical, and social adaptation targets for people with intellectual disabilities, and a number of studies on the use of dance for the purpose of physical rehabilitation while related keywords have been found. Therefore, it is necessary to convert the social members' awareness of the disabled arts through the disability dance education, and it is urgent to develop a dance arts education program considering the characteristics and degree of disabilities and to train professionals in the arts of disabilities. This study suggests a professional educational institution that educates the disabled to become professional dance artists.

The purpose of this study is to investigate the characteristics of discourse act that was unfolded in the process of modern Korean dance securing its significance as performing arts. In Korea, the first-half of the twentieth century witnessed the formation of new culture based on a clash between modern Western civilization that was accepted and the autogenous modern consciousness. The appearance of newspapers, in particular, provided ample opportunities for the reading public to participate in the society and gave birth to the modern consciousness of sharing one's ideas with others. This happened in the field of dance from various perspectives including reviews in the criticism format after the appreciation of dance performances, critiques, dance theories, and new ideas of the traditional dance. There was no establishment of proper dance criticism in Korea during the modern period, however there were meaningful acts to create dance discourses from diverse perspectives and enhance the aesthetic modernity of the public.

The purpose of this study was to investigate the significance of Mu-ui (舞義, ritual of dance) by Seong Gyeong-rin in dance history and its value as Holgi (笏記, scroll document). This study identified the characteristics of the Japanese colonial period Jangsaengboyeonjimu (長生寶宴之舞, Dance of longevity) by comparing the record in Mu-ui to that in Jeongjaemudogholgi (呈才舞蹈笏記, scroll document of court dances). First, the costumes of dancers were five colors, and second, the song Changsha expresses simplification and degraded expression. Third, there was a slight difference in composition at the end. Fourth, in the dance, the order of the nine-sided dance was all the same, so there was no big change, but dance details were added to Mu-ui or little details were recorded. Fifth, there was a change in notation, but most of them had the same meaning or dancing. Those findings indicate that Mu-ui by Seong Gyeong-rin has the following values and significance in the dance history. First, it holds its value as a Holgi of Yiwangjikaakbu (李王 職雅樂部, the downgrated insitution of Jangakwon). Second, it offers information about the changes of court dance by Yiwangjikaakbu during Japanese colonial period. Finally, it enables the reproduction of Yiwangjikaakbu’s court dance by Mu-ui.

Sanjo dance is a dance that was created with the origin of Sanjo music. Sanjo Dance was performed firstly in 1942 by Choi Seung-hee. From the 1950s to the 1970s Sinmuyoung (新舞踊, New Dance) dancers had presented the Sanjo dances. In the 1980s and around, the Sanjo dance did not draw much attention from the entire dance industry. From the 1990s to the present, the first Sanjo Dance was re-examined, and dancers newly presented various Sanjo dances. To summarize the aspects of Sanjo dance, first the Sinmuyoung dancers began to create it, and a number of the new dance-style Sanjo dances were created. In the 2000s, it has also been made in the traditional dance field. Second, after using Gayageum Sanjo by dancers, the musical instruments became more diversified, including the iron gayageum, geomungo, and haegeum, and the Sinawi format was also tried. Third, the Sanjo dance has various sub-titles, which reflect a certain motif or sense of subject matter of creation. However, Sanjo dances in the context of traditional dance tend to form a dance in the composition and flow of Sanjo music. Fourth, you can see creativity, improvisation and diversity in Sanjo dance. Creativity and improvisation are characteristics of Sanjo music, which gave rise to the diversity of Sanjo dance. The Sanjo dances developed in this flow can be divided into three contexts. These are the Sinmuyoung style, the traditional dance style, the mix of Sinmuyoung and traditional dance style.