Nine Songs is one of Lin Hwai-min’s most important works. As one of the features of Nine Songs, it combines traditional Chinese culture with western modern dance techniques and accepts the way of thinking of modern dance to create a fusion of traditional Chinese culture. In this study, the work Nine Songs serves as the research object, and various perspectives are used to analyze the cultural background and the fusion of East and West in this work. In addition to serving as a valuable reference for the study of the fusion of traditional dance with modern one in East Asia, this research is of great significance in expressing the aesthetic fusion of Chinese and Western dance in order to promote modern dance development.

Based on the concept of "différence" proposed by Deleuze, the purpose of this study is to explore the philosophy of ‘creation and extinction’ in Korean creative dance through an analysis of Cha Soo jung's piece 淸, Open the Blue Sea(2021). Applying Deleuze’s notion of différence to this piece, the sea in 淸, Open the Blue Sea is not the place of death, but of life, and courage for life. Consequently, this study discovers the potential of expanded interpretation of dance as a space for humanities and thoughts by examining its association with the concept of différence, which re-generates the true meaning of life through death. Further, it is essential to examine the possibilities of expression within Korean creative dance by analyzing how dance art elements are connected in the work 淸, Open the Blue Sea to symbolize the place of Cheong's death and the sea through a reinterpretation of Korean classical literature.

This paper examines the entire process of creating and performing the author's dance piece The Void Space Between with a them of ‘spatial distance’, which was performed during the period of social distancing caused by COVID-19 in early 2020. This study analyzes the process of mutual communication based on human perception of distance, which is an invisible area, by applying practical research methodology to dance works that deal with social issues.

Study findings contribute to understanding the problem of human spatial distance that will persist even in the post-COVID-19 era. As we move towards a global transition following COVID-19, it is important for us to reflect on the essential relationship between humans through the lens of space distancing. In addition, it is significant to note that the discussion of spatial distancing has been performed and studied as a form of dance. This study will provide follow-up choreographers with a small indication of how to wisely prepare for the post-corona era by thinking about life and art in an integral way.

This study aims at the description of ecological connection between body and earth(nature) through dances, rituals, and body movements. Referring to some dance studies which assume the body-earth connection as a lever for the realization of ecological relationality, this article illuminates some cases of ecologically related dances, rituals and body movements. In the first, this article reviews recent discourses of philosophy, anthropology, and dance studies on ecological consciousness, experience, ontology, and ecosomatic perception. Recent academic discourses emphasize that the connection is realized by the non-hierarchical relation, free from the perspective of dualism, between human being and ‘more-than-human’ world. Secondly, this article describes concrete cases. The cases show participants’ experiences of various ways or modes of connection, respectively; attentive efforts toward subtle energy in connection, immersion into the ecological world, surrender to earth, sensing reciprocity, realization of body as microcosm of earth, becoming other being and ontological transformation. In sum, this study describes people’s experience of the ecological world connected by dances, rituals and body movements.

In this study, we explore the principles of somatic movement inherent in Eastern psychosomatic disciplines with the aim of developing a somatic movement program for well-being. Taking into consideration the principle known as ‘BRACED’, we examined the Kishinbeop of Kouksundo and the Yukjagigyeol of Hwalinshimbang whose training methods are based upon the relationship between Yin and Yang and the five elements (water, fire, wood, metal and earth) and viscera, and developed the ‘Ohaeng Eumseong Chum’ program. The water dance is a movement that strengthens the kidneys and bladder, paired with the sound of ‘Chwi-’. The fire dance strengthens the heart and small intestine with the sound of ‘Whaw-’. The wood dance is for the lungs and large intestines, and makes the sound of ‘S-’. The earth dance is composed of movements for the spleen and stomach accompanied by the sound ‘Hoo-’. This study contributes to the development somatic movement and to the study of well-being movement, which can help dancers and individuals to get to know their bodies and live a long and healthy life.

This study examines periods, characteristics, activities, and the significance of the 60 years The Little Angels, a Korean children’s performing arts troupe. The research was conducted through a literature survey, the review of primary data including concert programs, newspapers, films, and interviews with key informants. The troupe formulated members, management, and repertoires during its ‘Formulated Period,’ In its ‘Cultural Ambassador Period’ in the context of the International Cold War and nation-building, the troupe played its role as a cultural ambassador with the mission to dispatch Korean culture to the “free world,” beginning with the US, then Europe, Asia, and South America. In the ’Private Troupe Transition Period’ of the 1980s, the troupe focused on domestic rather than overseas activities, yet performed at major events like the Seoul Olympic Games. After 1991, during its ‘Peace Delegation Period,’ the troupe again concentrated on overseas performances in the post-Cold War context and toured the USSR, North Korea, China, and UN nations that participated in the Korean War. This study examines The Little Angels unique position and provides a rich and multi-dimensional views of contemporary Korean performing arts history as created by the intersection of global and Korean concerns.

This paper analyzes the author’s piece entitled “After Beginning and Before the End”, which explores the relationship between the creation process of Chinese characters and dance, drawing upon the Tao-te-ching of Laozi. As per Laozi’s concept of ‘Tao’, all creation changes from a simple to a complex state, with a wide variety of possibilities in the process. We intended to make the rediscovery of all creation suggested in the Tao-te-ching of Laozi into a piece of a choreography by applying the minimum unit of Chinese characters and their shapes as the principle for generating dance movement. This research proposes the method of dance composition from the perspective of the redevelopment of all creation presented in Laozi’s Tao-te-ching.

Wu XiaoBang new dance art aesthetic thought is examined in this paper in order to shed light on the significance of revolution and progress. XiaoBang critically adapted both western romantic ballet and German expressionist dance, and developed the essence of Chinese classical culture. He proposed a new dance art in accordance with aesthetic in the new era of China. Based on a literature review, this study analyzed the aesthetic thought of new dance art from four aspects: dance performance, dance creation, dance education and dance theory. Research papers on new dance art, one-line books and critical essays are used to analyze the development history of modern dance in China and to understand the formation and development of new dance art. In summarizing Wu XiaoBang formation and development of new dance art aesthetics, this research makes a significant contribution to the development of dance discipline and training principles.

The purpose of this study is to understand the status and experience of online practical classes for dance major students in the COVID-19 situation. As a result, suggestions for improvement are as follows. First, instructors should provide various types of teaching strategies by utilizing the LMS. Second, colleges should provide and improve the online educational environment for instructors and learners. Last, learners should find a balance between freedom and control of online classes. Based on this study, it aims to help learner-centered effective instructional management and lecture quality improvement, and furthermore, it aims to provide basic data to respond to changes and future of dance education facing online classes.