This study aims at reevaluating the artistic realism of Choi Seung-hee’s works not only in her full-length dramatic dances after her defection to North Korea but also in her early modern dances with the theme of social participation. The kind of realism that she had pioneered in dance field in 1930 continued into her proletarian dance but discontinued between 1933-1945 due to severe criticism from home and abroad. This study ascribes the undervaluation of her activities in this period to the male mainstream perspective of the society and the decline of proletarian literature. f After her defection to North Korea, Choi’s proletarian dance developed into full-length dramatic dance, which can be referred to as the stage of her completion of socialist realism. The full-length dramatic dance has great meaning in the Korean dance history in that: first, it elevated “dance as art” to a higher level; second, it held a feminist perspective; and third, it achieved a high degree of completion in terms of choreography. Henceforth, Choi Seung-hee’s activities as a pioneering realist dancer in Korea deserves reevaluation in the Korean dance history.

This paper investigated the theme ‘creation’ with the focus on the Korean traditional dances. At first, the problems in the creation of existing Korean dances were analyzed. Through the analysis, the creative factors lacking in individual characteristics were presented and the introduction of the western-oriented concept of creation was critically examined. On the basis of the awareness on the difference of artistic concept between eastern and western world, the concept of creation was discussed in the transmission history of dances. Next, the frame of reference for the creation of the traditional dance was presented. It includes the formation of lines and surfaces through principle of circulation, the formation of dance styles based on the traditional breath method, the approach to interpret rhythms and the application of steps. In conclusion, the events inducing the creation of traditional dances were identified and presented in the ancient literature.

This research is about the performances of Korean immigrant art troupe, from Russia’s Vladivostok maritime province (Yonhaeju : Prismorsky Krai), that visited Korea in the early 1920s. Initially the performances aimed to raise funds to build churches and help Koreans in Russia suffering from economic difficulties due to prolonged droughts and the civil war in the aftermath of the Russian Revolution. However, the performances gained nationwide popularity, introducing Western folk music and dancing to Korea, which became the driving force in spreading a dance craze throughout the country. These performances significantly influenced the history of Korean modern dance, best exemplified by Cho Taek-Won who was first introduced to modern dance by the troupe’s performances and who became one of three new dance (Shinmuyong) pioneers. It is rare in the field of Diaspora Studies that cultural influences come from the outside the mother country, as in the case of the Korean-Russian art troupe. This research, from the perspective of the Diaspora (in the socio-cultural context of the troupe as they were caught between Russia’s civil war, in the period after the 1917 Revolution through 1922, and Korea under occupation by imperial Japan) shows the characteristics and meaning of the performances on the history of Korean modern dance, through analysis of performance activities and structures, member composition, the role of major leaders, and the troupe’s repertory of performances. At the same time, this study provides a foundation to understand the Korean Diaspora in Russia Like Lee Kang, Han Yong-Hun and Kwak Byuing-Gyu, the leaders of the Korean art troupe in Russia were leaders of the religious community who had participated in the Korean Independence Movement in the maritime province of Russia. Most of them were non-professionals and each group had a small number of members. Their art form followed “Estrada,” a typical people’s performing art which were popular folk dance touring performances in Russia at the time. In the history of modern dance in Korea, the significance of the performances of the Korean immigrant art troupe from Russia is as follows. First, as the initial overseas Korean performing arts group, they inspired Koreans to pay attention to the problems of overseas Koreans through the promotion of their visit to Korea; they helped build a national identity across borders. Secondly, this art troupe, as part of the Korean Diaspora, became a cultural bridge between people in Korea and Koreans in Russia. Lastly, the art troupe supported the Korean Independence Movement. However, the performances were forced to stop, for political reasons, by the birth of the Soviet Union on December 30, 1922. Research methods include literature and library research, field surveys, including existing literature in the National Russian Library of East Asian Literature, materials made from the Japanese Ministry of Foreign Affairs kept in the National Institute of Korean History, Dong-A Ilbo, Mae-il Shinnbo, and Sunbong, the Korean newspaper published in the maritime province of Russia.

In studying dance history of Korea, diverse patterns of dance are discovered in murals, historical remains, and royal rites. Then, how should dances contained in visual materials be understood? This study aims to examine the method of analyzing dance depicted in paintings to research the history of dance. To that end, Panofsky’s iconological method, used in researching the history of fine art, was used to examine dances depicted in murals. Research was conducted in the following procedure. First, the concept and principle of iconology, focused on the historical background of iconography and iconology, were reviewed, and recent iconological arguments were examined. Second, how to apply the iconological method to dance was discussed. Third, through Panofsky’s iconological gradual analysis method, the iconography of the right-hand mural in Goguryeo Jangcheon No. 1 Tomb’s Anterior Chamber was described and analyzed to define its meaning. The findings of this study are outlined as follows. According to previous iconological description, the iconography of dance depicted in the right-hand mural in Jangcheon No. 1 Tomb’s Anterior Chamber features a Goguryeo person performing both-arm dance and lotus dance to the accompaniment of a string instrument. According to the iconological analysis, the dancer performs Buddhist-faith funeral dance. Such ritual dance contains the cult of wishing the dead person’s soul will well reach the nether world, as well as the wish that the dead person will lead a happy life in the nether world. According to the iconological interpretation, Goguryeo sleeve dance changed and developed into today’s Hansam, Jangsam and other diverse sleeve dances. Goguryeo dance contains the essential life meaning, and although the themes and concepts of dance may vary according to times and works, all dances are the expression of life and the heart of wishing for a good life; thus, the life, the essence of Goguryeo, was analyzed as the universal essence and inherent meaning of Korean dance. This study is significant in that it prepared a framework to research dances depicted in paintings, and proved that iconology can contribute to diverse analyses in researching the history of dance. Iconological research on dances illustrated in visual materials is expected to continue.

Dance education has the potential to improve the spirit, because of the essential of dance which requires the participation of whole mind such as the creative, emotional, moral, spiritual. Exploring the theoric and experiential grounds about dance and mind and heart education, this study is to guess the possibility of mind and heart education through the dance, and suggest the definite data. What dance contribute to mind and heart education are divided into four aspects: the intellectual, the emotional, the moral, and spiritual. First, dance can help one improve the creativity. For this, it is important to provide the chances of movement study, and use various sources and mediums. Second, dance can help one cultivate the emotion and sensibility. For this, it is important to help practice the movements, and recommend various indirect experiences. Third, dance can help one cultivate the personal and social virtue. For this, it is important to promote cooperative learning, and praise and encourage. Fourth, dance can help one improve flow, happiness, and self-realization. For this, it is important to take the lead, and recommend various indirect experiences. However, researches about its content and method are all yet to be inadequate. To rectify, theoric discussion in depth, developing practical teaching model and programmes, practice in various educational settings are needed.

This study is intended to examine the organization of daemu[對舞] and baemu[背舞] of early Joseon court jeongjae[呈才], comprehensibly inquiring into dangakjeongjae[唐樂呈才] and hyangakjeongjae[鄕樂呈才] of Akhakgwebeom[『樂學軌範』]and comparing them in the aspect of formations and dancers. The jeongjae that employs daemu[對舞] and baemu[背舞] are “Gokpa”, “Geuncheonjeong”, “Seongtaek”, “Sumyeongmyeong”, “Suborok”, “Suyeonjang”, “Yeonhwadae”, “Oyangsun”, “Yukhwadae”, “Pogurak”, “Haseongmyeong”, “Hahwangeun”, “Abak”, “Hakyeonhwadaecheoyoung -hapseol”, “Hyangbal” and “Bonglaeui”. The formations of these jeongjaes are one line formation, jeonhu formation, left-right formation of two lines and four lines, obang formation, sau formation, sabang formation, samdae and palgwae formation. Depending on kind of jeongjae, daemu and baemu are performed either in one formation or in more than one and they are either performed respectively or together. The progression of the dances varies depending on the formation of a jeongjae both in dangakjeongjae and hyangakjeongjae, such as formation-centered progression where jwamus progress with jwamu and wumu with wumu, line-centered where jwadae and wudae progress separately, line-and-formation-centered and seonmo (the center of stage)-centered progression.

This articles is a analysis of three kinds of materials of Pangut(판굿) of Honam-woodo-nongak(호남우도농악) recorded in the 1967, 1980, 2004 on the view point of ethnography of performing text. The purpose of this article is analysing structuring of Gurree(거리) and Julcha(절차), structural differences of these three kinds of materials. The Gurrees of Pangut of Honam-woodo-nongak in the 1967 are composed of 8-units ; Nendrm-Jilgut-gurree(내드림질굿거리), Ochae-jilgut-gurree(오채질굿거리), Obangjin-gut-gurree (오방진굿거리), Hoho-gut-gurree(호호굿거리), Ilkwangnori-gurree(일광놀이거리), Kunyongnorigurree( 군영놀이거리), Dodukjaebi-gurree(도둑잽이거리), Talbok-gut-gurree(탈복굿거리). One gurree is composed of Julchas of 2-units~7-units. And the 8-units of Gurrees are composed of 27-units of Julchas. The 8-units of Gurrees are divided into two Gut-gurrees, Ab-gut and Dwit-gut on the material in the 1967. The Gurrees of Pangut Honam-woodo-nongak in the 1980 are composed of 7-units; Erim-gut-gurree(어름굿거리), Ochae-jilgut-gurree, Obangjin-gut-gurree, Noraegut-gurree(노래 굿거리), Gujung-nori-gurree(구정놀이거리), Hoho-gut-gurree(호호굿거리), Talbok-gut-gurree. We can find eliminating of Dodukjaebi-gurree, reducing of many kinds of Julchas of part of Dwitgut on the material in the 1980. The Pangut of Honam-woodo-nong-ak in the 2004 are composed of 3-units ; Ibjang-gut(입 장굿), Madang-gut(마당굿), Teujang-gut(퇴장굿). Ibjang-gut is composed of Naedrm-gutgurree, Insa-gut-gurree. Madang-gut is composed of 7-units, seven kinds of Madangs; first-madang(Ochae-jilgut-gurree), second-madang(Obangjin-gut-gurree), third-madang(Poongnyngut- gurree), forth-madang(Dumachi-gut-gurree), fifth-madang(Hoho-gut-gurree), sixth-madang (Ilkwang-nori-gurree, Dodukjaebi-gurree), seventh-madang(Gaein-nori-gut-gurree). Teujang-gut is composed of Teujang-gut-gurree. There are many kinds of variations on Pangut of Honam-woodo-nongak in the 2004; Pangut divided into 3-units, beginning-middles-ending. the middles divided into 7-units, 7-Madangs, each Madang is composed of one or two Gurree. The song of Norae-gut-gurree changed from Wurlsenga into Nongbuga. Dumachi-gut-gurree is added to Pangut. Ilkwang-nori-gurree and Dodukjaebi-gurree are integrated to one unit, sixth-madang. Gaein-nori-gut-gurree is located in ending part of the middles. And there are some kinds of variation; change of position of each Gurree, change of ending method, change of structure of Jangdan. These kinds of variations on the Honam-woodo-nongak in the 2004 reflect modern style of western performing arts in Korean Poongmulgut/Nonak, especially Honam-woodo-nongak.

The theme of this study is ‘What the nature of somatic/psychological experiences reported by trauma survivors through movement education is.' The problems of this study are: first, to investigate the relation between the somatic characteristics of trauma survivors and their movements and second, to study on the process of their life changes and the meaning of their experiences reported by them through participating in the movement class. Five study participants, among the educators who participated in the Korean Tamalpa Institute’s program, “Remembering the Body” from June to December of 2013, conducted the narrative study from January to March of 2014. Through this study, first, it was found out that the trauma survivors, due to their physiological responses by traumas, had tended to unconsciously block senses arisen in the somatic area and the areas of emotion and perception had been also blocked therefore the sphere of their lives had become limited. Second, they reported that, as the circulating relations among the soma, emotion and perception in the trauma survivors started to develop, they realized the soma, emotion, thinking, relationships, and other life’s contexts such as that in workplace were all connected and changes occurred in them simultaneously. Third, through movement education, the trauma survivors obtained new somatic experiences and they discovered some points where the somatic movement experiences at the studio could be integrated into the metaphoric movement experiences in their lives. Fourth, when the responses by traumas occurred, they understood the traumas’ physiological theory, not by verbal expressions, but through movement.