This thesis examines the current status of the dance research of North Korea in three areas: research on dance history, research on dance theory, and the transmission and research of the cultural dance heritage. We investigate comprehensively by looking into the history of North Korean dance by identifying the artistic purpose of North Korea and the ways dance history books organize its history, and the research trend. In particular, it should be understood correctly on condition that the ideology contained in the dance, the social-cultural context, and the dance as a comprehensive art must be studied in paralleled with various theoretical systems, aesthetic characteristics, principles, and methods from a multifaceted perspective.

The history and culture of dance that could not be explained with old materials alone have been identified scientifically, newly established, and systematized in North Korea, and based on this, North Korean dance scholarship focused on the study of theory and method on the issues regarding transmission of the excellent traditions and dance heritage of the nation. This focus become an important guideline to the development of dance art in North Korea.

In addition, more systematic theoretical studies have been conducted in various ways, including Korean dance history, basic dance theory, and dance notation. These studies are significant in laying the foundation for the systemic and scientific study of dance theory. That would support the basics of dance, dance creation, and theoretical investigation.

This paper presents an experimental discussion that examines previous literature and controversial discourses on dance history of Korea in order to suggest new ways of writing dance history. The dance history texts of the premodern time of dance history are mainly written by An Hwak, Kim Jaecheol, and Seong Gyeongrin after the Japanese rule. Most of these texts are restricted to introduce court dances in the literature due to the limited number of surviving materials. I suggest that dance history of premodern Korea would be discussed with more variety and depth if social and cultural perspectives are adopted. There are various discussions developed about the descriptions of modern dance history, however there is room for improvement in regards to the poor perceptions of the independent starting point of modern times and the concept of modernity. If the descriptions of dance history in Korea achieve expandability by embracing different genres and various literary methodologies as well as syntactic descriptions, the scope of awareness will broaden further for dance studies.

This paper aims to compare the forms of basic and creative dances in Tokyo Korean School (hereafter Korean School) and Joseon School by focusing on the national dance education conducted by them, consider what a role the national dance has placed in internal and external events and suggest some tasks that they should perform in the future.

From the consideration , following findings can be summarized:

First, in terms of basic dance, Joseon dance is taught by dance instructors trained in a consistent system with systematic curriculum in Joseon School, while Korean dance education is conducted in an autonomous form at the discretion of the instructors in Korean school. Second, in terms of creative dance, although Korean School put an emphasis on creative activities reflecting the current generation's senses, by considering the flow of times, Joseon School is biased toward the nationalist tendency and has no modernistic perspective. Third, the national dance education in both schools has commonly served as an important medium for promoting the relation with Japan, the country of residence, through external activities.

Based on the findings, the tasks of the national dance education can be suggested, on which the new generation should focus. First, it is important for both Korean and Joseon School to co-host the cultural events in which they can watch and learn each other's dance and create the environment for them. Second, a joint research on the traditional dance of South and North Korea should be conducted, based on regular exchange between dance instructors working in both schools.

The purpose of this study can be divided into two. The first is to clarify the detailed schedule of the concert tour of the USSR, which was the last schedule of the Choi Seung-hee’s National Dance Studio, dispatched to the Eastern Europe tour in September 1956. This clarification includes an identification of the purpose, signification of this concert tour and the dance works. The second is to analyze the phenomenon of Choi Seung-hee’s glocality in her dance works based on the trends of her creation in the 1950s and the Soviet audiences’ reception of her works.

The Choi Seung-hee’s National Dance Studio held a concert tour of the Soviet Union for 44 days from November 30, 1956 to January 12, 1957. In this tour, the North Korean government had a political purpose to advocate North Korea's position among socialist countries and to strengthen the solidarity among them.

After Choi Seung-hee’s return to North Korea, in the form of her works she used the stagecraft of Soviet ballet for her choreographies of North Korean dance. And In the content and subject of her works, she pioneered the North Korean dance drama “North Korean Ballet”, which dealt with socialist patriotism and proletarian internationalism following socialist realism. In her other dance works, she portrayed the North Koreans’ wise, optimistic, and diligent lives and showed the model of North Korean socialists. Although foreign audiences’ reception was different, her artistry was recognized in Eastern Europe, including the USSR, and caused a great repercussion.

The purpose of this study is to classify the types of site-specific dance performance based on the characteristics of the site. To analyze the types, I examine articles, interviews, reviews, and internet sources about site-specific dance performance. In conclusion, the general site type is not just the dismantling of the boundary between everyday life and the arts but has the characteristic of a place that provides an opportunity to remind us of our ordinary life through the connection of the subject of work from the characteristics of the everyday venue. The site of specific meanings type is a museum with its own cultural and historical meaning, or the theme of the work is connected from the characteristics of a place where free access by the general public is not possible, and through this, an opportunity to create partnerships with local communities and institutions. The episodic site type is that the subject of the work is connected from the discarded and useless place, and through this, it provides an opportunity to reflect on the historical meaning of the past and concerns about the issues currently occurring at the performance venue. This type has the characteristics of a place that presents the possibility of regenerating the place again.