The purpose of this study is to identify expressive characteristics by examining the choreographic intention and movement meaning of the scarf-dance part in the Kim Baik-bong Sanjo Dance “Cheongmyeong Shimsu”. The study utilizes literature research and participatory observation methods, including in-depth interviews and embodiment. The analysis criteria on the relationship between the dancer and the scarf were based on movement emphasizing technical aspects and movements focusing on emotional exchange. The expressive characteristics of movements can be organized into 12 categories such as “mother's love,” “life's solid experience,” “life's reincarnation,” and “deep and full sadness.” In “Cheongmyeong Shimsu”, the scarf is not just a prop but contains the choreographer's philosophy and ideals. It also conveys emotions effectively, which helps the theme of dance be delivered clearly. “Cheongmyeong Shimsu” is the work that represents Kim Baik-bong's dance language that is self-reflective; it is also healing.

This study aims to analyze the changing aspects of the Cheonan World Dance Festival and explore its future value. The research is conducted by the analysis of records of the dance festival through media such as the Internet and press promotional materials, while focusing on qualitative research based on literature, examining the historical development process of the festival and its current value as a dance festival, and suggesting future direction and strategies for the festival. The Cheonan World Dance Festival started as a general local festival called the ‘Cheonan Semgeori Heungtaeryeong Cultural Festival’ in 1987 and has been renamed as the ‘Cheonan Semgeori Cultural Festival’ in 1990, the ‘Cheonan Heung-taeryeong Festival’ in 2008, and the ‘Cheonan World Dance Festival’ in 2011. It is a representative local dance festival in Korea that has secured the image and identity of Cheonan through content development and title design. ‘Cheonan World Dance Festival’ have been recognized for their values through the preservation and succession of traditional culture, strengthening of regional identity, acceptance of cultural diversity, and their role as a tourism resource for long time. In order to embrace the changing times and be reborn as a world-class festival, however, the Cheonan World Dance Festival should consider modern changes, innovations, and digital transformations while strengthening publicity, expanding participatory programs, developing sustainable operation models, and increasing international exchanges.

The purpose of this study is to illuminate the development and characteristics of dances in the area of Seoul based on achievements and significant contributions of Han Seong-jun, a master of Korean traditional dance. The study period spans from 1908, when Han Seong-jun settled in Seoul, to 1941, the year of his passing. Research methods involve literature related to Korean music and dance, as well as examining newspaper materials. The research focuses on Han Seong-jun’s dance lineage within traditional dance. The findings reveal that dance evolved through both theatrical and private arts organizations. In the early 1900s, Seoul-based dances, following Han Seong-jun’s legacy, were performed by artists associated with various private arts groups, gradually transitioning into commercialized, staged, and entertainment-oriented forms. From a traditional and creative perspective, dances are categorized into those transmitted and performed continuously and those that have disappeared and are now being revived. From today’s perspective, the approximately 72 works that Han Seong-jun staged, restructured, and created can be considered ‘Han Seong-jun style new tradition’. Most of the works have been destroyed, but there has been a movement to restore and reproduce them recently.

This study investigates the necessity of training methods in performing traditional Korean dances and suggests a possibility of using them. To this end, Bae Junghye's Korean dance training method was used to describe and analyze traditional dance movements. Bae Junghye’s method can be utilized for the following reasons. First, it helps dancers practice and strengthen movements during their training. Second, it can be appropriately applied depending on the purpose of movement expression. Third, it can be used for basic exercises before performing a dance. Fourth, systematic training of movements is possible through Bae Junghye’s Korean dance method.

This study emphasizes action needed to promote the sustainability of Sanjo dance through its popularization and dissemination. Therefore, the objective of this research is to analyze trends in Sanjo dance research using keyword network analysis. The final materials utilized in the study consist of 39 research articles and 59 key terms. Based on the analysis of the content of these articles and the key terms, the research trends in Sanjo dance can be summarized as follows: first, studies on the external aspects such as the structure, content, and function of Sanjo dance; second, diversified historical research on specific individuals related to Sanjo dance; third, expanded research on the artistic and intrinsic values of Sanjo dance; and fourth, studies on the expansion of the content and form of Sanjo dance. Although the quantitative scale of Sanjo dance research is limited, the development of research shows a progressively effective pattern. Therefore, future studies should diversely focus on innovative research regarding transmission methodologies and educational curriculums.

This study aims to identify and analyze the structural elements of the Dosalpuri dance by exploring its intersections with the spiritual and artistic aspects of traditional shamanistic rituals, thereby enhancing the understanding of the foundational framework and value of traditional dance. To this end, the research investigated the value and characteristics of the dance based on literature and video materials, examining the embedded spiritual and artistic elements of shamanistic rituals through themes, costumes and props, rhythm, and dance movements. The theme of dosalpuri encompasses the psychological and religious significance of invoking and treating spirits well to obtain blessings, encapsulating the archetypal form of shamanistic rites through play and resolution. The white costume, resonating with grief and secrecy, symbolizes the prevention of misfortune, and the 3-meter-long white scarf is interpreted as the pathway from the divine time to human time. The rhythm retains the traditional patterns used in the Gyeonggi Dodang-gut [Gyeonggi Province shamanic ritual]. The dance movements include daruchigi, mokjeotnoreum, and yongsawi, adhering to the formats of inviting, entertaining, and sending off spirits.

This study is to examine No. 1 Kim Jin-Geol ｢Sanjo｣ and No. 19 Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣, which were selected as masterpieces among many other ‘Sanjo dance’ – dances that both accept and transform tradition – through the analysis of each dance’s structure, characteristics, and discursive meaning. The research method adopted spatial semiotics because the actions of Sanjo dances produce various meanings depending on their spatial composition. As a result of the study, the Sanjo rhythms include Jinyang, Jungmori, Jungjungmori, and Jajinmori. There are differences between Kim Jin-Geol ｢Sanjo｣, which was first created in 1953, and Jeong Jae-Man ｢Sanjo(CheongPungMyeongWol)｣, which began in the late 1990s, in terms of their utilization of stage space. Compared to Kim Jin-Geol ｢Sanjo｣, Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣had more diverse floor patterns and compositional structures and showed the incorporation of fans as props in dancers’ movements. This study is meaningful in examining the universal values and characteristics of Sanjo dances, and is valuable in recognizing the re-creations and contemporary values of traditional dances.

This study critically approaches the “Research-Based Content” series of the Society for Dance Documentation & History, which explores the historical, morphological, and artistic meaning and value of dance through research in the reconstruction of traditional and new dances, the art dances of the modern era. This research is based on expert interviews and opinions of critics. First, it allows for a flexible reconfiguration and recreation of dance beyond the boundaries of tradition. Second, it enables the documentation of the process and results, providing a formal record. Third, through the exchange between dance and theory, as well as dance and other fields, it offers an i nclusive e xperience. F ourth, i t allows f or t he p ursuit of n ew p erformance f orms beyond traditional and contemporary dance through editing and adaptation in compilation performances.Copyright issues, mutual interests, research adaptation, and time-consuming are among the things to consider.

This study examines how Uyghur Bowl Dance has transforme over the years in Xinjiang, China. I used a eview of the records and image analysis to track changes in body postures, content, expressive methods, and social functions of Uyghur Bowl Dance. My analysis was carried out based on photos and drawings of the dance as well as pre-modern records Through the analysis of different cultural elements and characteristics that appeared in the formation of Uyghur Bowl Dance, this study identifies changes that occurred in the dance within different historical eras This study promotes the development of Chinese ethnic folk dances and serves as useful reference for the study of traditional dances in the history of Chinese ethnic culture and art.

This study is to analyze the movements of Yeombulgwajang, a section in Seungmu, a Korean traditional dance, from a perspective of Greimas’ semiotics. For the analysis of the study, the movement principles of “contraction and expression” and “tying and untying,” which were derived from the philosophies of Yin-Yang and Reincarnation embedded in Seungmu, were discussed through the idea of Greimas’s semiotic square. The relationships between contraction and expression and between tying and untying are deemed to be confrontational; the relationships between expression and untying and between contraction and tying are regarded as hypothetical; the relationships between tying and expression and between contraction and untying are seemed to be contradictory. The meanings of the dance may be formed and interpreted diversely based on the various combinations of these elements. The study contributes to demonstrating a new way of interpreting inherent meanings in Seungmu.