Jeonju Daesaseupcheong(Jeonju Traditional Culture Building), founded in 2021, introduces a permanent performance system and presents traditional art performances every Saturday. With the annual number of visitors to Jeonju Hanok Village currently reaching 10 million, if the Jeonju Daesaseupcheong's permanent performance for tourists is activated, it will have infinite potential as a traditional art content and will become an unrivaled performance. This study has examined the current status of permanent performances on Saturdays and sought ways to enhance them based on a SWOT analysis of the Jeonju Daesaseupcheong’s performance report and Steering Committee’s activities. The results of the study are as follows. First, a promotional marketing strategy needs to be designed, targeting tourists in Hanok Village as main audiences for traditional art performances. Second, pansori-based Changgeuk(Traditional Korean opera) can be developed into a permanent performance repertoire. Third, a development of participatory content creation is suggested to encourage local residents’participation. This study makes some important contributions to suggesting the operational directions for the permanent Saturday performances of the Jeonju Daesaseupcheong.

The purpose of this study is to uncover the specific pro-Japanese actions of dancer Jo Taek-won (Japanese name Fukugawa Moto 福川元, 1907-1976), to improve our understanding of the history of Korean modern dance. Research was carried out through analysis of the Encyclopedia of the Pro-Japanese collaborator(2009), Report on the Truth of Pro-Japanese Anti-National Activities (2009), and visual data. First of all, I identified the collaborations with the Japanese Empire of Jo Taek-won. Jo Taek-won choreographed the representative pro-Japanese dance drama Buyeohoesanggok (1941.5.12.-16), and performed in other pro-Japanese contexts, including a number of Japanese military consolation performances for conscriptsand student soldiers. After liberation, Jo Taek-won took the lead in the dance world despite his pro-Japanese career, and after his death, a dance memorial stone produced through fundraising was erected. I argue that Jo Taek-won's artistic achievements and pro-Japanese activities should be taught together in dance education for later generations. In that sense, I suggested that an inscription containing the pro-Japanese history be added next to Jo Taek-won's dance memorial stone built at the National Theater of Korea.

This study examines the role and relationship of moving image among various art genres collaborating on dance performances. Six works by the Buripuri Dance Company, a private organization from 2004 to 2015, and 12 works by the Gangwon Provincial Dance Company, a professional organization, from 2017 to 2022, were analyzed 41 moving image clips were used in 18 dance performances. In this study, we collect and screen capture shots of 41 moving image clips out of 18 dance performace. We presented 12 expression methods that can distinguish the purpose and use cases of moving images from the perspective of stages, dancers, and audiences based on the contents commonly presented in six previous studies for work analysis. The 12 expression methods can distinguish the purpose and characteristics of the moving images for the dance performance. As a result, the most important reference point in the relationship between dance performances and Moving Images revealed in this study is the choreographer's intention. In addition, close collaboration between choreographers and video designers can not only improve the work's workability but also increase the understanding and immersion of the work from the audience's view. Therefore, this study is a records 20 years of choreographers and Moving image designers to create dance performances with high workmanship.

This study explored the case of creating and performing “Suncheon Bird Flower Dance: Hooded Crane Meets Flower” by adapting the story of a hooded crane in Suncheon. The researchers obtained the following results by collecting and qualitatively analyzing choreography notes, photos, videos, memos, dialogues and performance pamphlets from August to November 2021. First, from the point of view of ecological art, we carried out choreography work for flower dance and hooded crane gestures based on sympathetic movements. Second, it revealed the convergent aspects of performance characteristics especially by using the photos of the hooded cranes in accordance with the live music performance for the scenery of Suncheon Bay and adopting a tea ceremony performance. Third, to implement the proposed creative crane dance, this case showed the transformation process of traditional Hakyeonhwadaemu in the scenes where the hooded crane meets and hangs out with a flower girl (woman) who is blooming and becoming a lotus flower.

This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters — virtual theater, performance theater, and sound theater were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

This study explores the primary issues in international performing arts exchange in the post-COVID-19 era. In our in-depth interviews with dance artists, each with over eight years of experience in international exchange before and after the pandemic, we witnessed the challenges and opportunities posed by the current pandemic situation. We used phenomenological methods to analyze the interview data. Our analysis revealed four problems: (1) the gap between live performance and recorded online performance; (2) the lack of equitable collaboration between artists and arts administrators; (3) the lack of diverse approaches and forms of support; and (4) the increase in barriers to international performing arts exchange. Our findings suggest countermeasures, such as: (1) balanced support both for live performance and online performance; (2) more flexible communication between artists and administrators; (3) adoption of more diverse and creative modes of international exchange; and (4) provision of training and education to promote artists’ access to and mobility in international artistic exchange.

Expressions of literature or fine art create work that leaves a distinct record. By comparison, the performing arts never create work that remains afterward. Performance is a momentary art shown only in the present, and it is never affected by anything after the show. Performing arts are solely present at the time and place of a performance, making it practically impossible to preserve and store the work. In fact, maintaining and preserving the actions performed on scene has become an unresolved question in the world of performing arts. In order to maintain and preserve such moments, artificial interventions are essential, such as taking photographs or making videos. This paper aims to discuss some theoretical issues that should be taken into account in the process of documenting the performing arts. This paper will first discuss the authenticity of performance in terms of the object of documentation. Authenticity is a concept related to the identity of work. It will continue by examining Margolis’s theory of arts before exploring suitable media to record performances, such as records, body, memory and repertoire. Lastly, this paper will raise a question as to how to reflect aesthetic elements that need to be considered along with other factors in performance documentation. Ultimately, this paper suggests that performance documentation should begin to recognize the gap between performance and record. Such an approach should integrate ethnography and narrative.

Dance archives help researchers not only to understand performances, but also to promote related studies. Recently, dance archives have been produced and managed in some performances, although organizations producing and managing dance archives are still limited. Studies on the values and utilization of dance archives have to be carried out to understand and utilize dance archives. This study compared archives－Seongdanhyangui and Sajikseo Uigwe－and performances－Yeongseongje (2015) and Sakjikdaeje (2014)－to study the values and utilization of dance archives. The paper demonstrated that the archives value and cultural resources have inherent value in dance archives; it also analyzed cases of using its values.

The purpose of this study was to examine the relative importance and priority of the components of a contemporary dance work aiming to boost the popularity of domestic contemporary dance performances based on expert opinions. It seeks to improve the harsh performance environment of contemporary dance, a major problem caused by poor financing, to contribute to dance performances in modern society. In the first stage, a survey of 20 selected dance performance experts was conducted using open-ended questionnaire to determine how to structure a dance work to increase the popularity of contemporary dance performances. In the second stage, the analytic hierarchy process (AHP) was utilized to carry out a pairwise comparison of the selected components to determine their relative importance and priority. The findings of the study were as follows: Eleven factors were selected as the components of a dance work geared to improving the popularity of modern dance performances, and 31 details were selected. The audience’s consciousness of the choreographer was selected as the top priority, followed by communicability, the completion and composition of work, sympathetic choreography, a communicable repertoire, the superb competence of the dancer, professional direction, diverse forms of work, the professionalism of the staff, public-friendly music, harmonious lighting/stage setting, and eye-catching costumes. If a dance work is based on the choreographer’s philosophy and possesses all 11 components suggested by the experts, it will exhibit artistic value and have popular appeal. Such an excellent dance performance will be fully appealing to the public. This study is of significance in that it investigated the opinions of experts to suggest practical advice on how to create a dance work to increase the popularity of dance performances. However, this study also had some limitations; for instance, the suggestions were only based on the perspective of individuals already engaged in dance performance. Therefore, sustained research efforts should be made to consider the circumstances and perspectives of other genres related to dance performance to enhance the popularity of dance performances.

The purpose of this study is to vigorously investigate international developments in Korean Dance by domestic private dance troupes. The study is based on the performance records of private international dance troupes from the early 2000s, troupes that were active since 1980. The Chang Mu Dance Company and the Didim Dance Company are among Korea’s leading performers and feature dancers who play a prominent role in the globalization of Korea by presenting performances that captivate audiences around the world. The recent Korean Wave may also trace its origins to the popularity of these dance troupes.