This study is a methodology to establish a basic concept of aesthetics of the Korean dance. By examining main concepts of Korean traditional ideas, this study aims to explore the concept of aesthetics in Korean dance in a systematic way. In particular, it interprets the Korean dance based on the foundation of humanities. Accordingly, the study is significant in developing the system of aesthetics of the Korean dance by suggesting philosophical foundations of the Korean dance through the aesthetics study and through history and traditional ideas rather than limited interpretation within the scope of broad east and western aesthetics. The study was progressed in a 3-stage research design. The first stage was to extract the prototype of the ancient arts from Korean national culture in order to comprehend the prototype of the Korean dance. In the first place, examine the original flow of the Korean ideas embedded in the national foundation myths, legend and ancient heavenly ritual, and the study analyzed related languages and terms, then able to expose the clue of the esthetics of the Korean dance. The second stage was examining the spirit of the Korean Dance from the national’s original flow which is embedded in the legend and ancient heavenly ritual, i.e through the world view of ancestors who worshiped the sun and served the heavenly god. And explored the boundary of aesthetics of the Korean dance over ‘Poongryudo’ that is based in the aesthetics of the Korean dance. Lastly, in the third stage, the study establish the basic concept of aesthetics of the Korean Abstract 82 제41호dance from reviewing how the logic of aesthetic ideas, which were generated from specific traditional dances such as Salpurichum, Chunaengjeon and mask dance, granted value in aesthetic sentiment and concept. Aesthetics of the Korean dance is the aesthetics of harmony under the human centered ideas, the aesthetics of freedom which is surrealistic directly related to our life and goes beyond time and space, and the aesthetics of weighing high on the livelihood. Such aesthetics could form today’s aesthetics value and concept by repeated periodic communication. The basic concept of aesthetics of the Korean dance is divided by ‘Sitgim(washed)’ that is reached to god’s purification to release resentment, sorrow, and the dark-side, and ‘Poongryu(tasteful)’, which purposed for purify by lightness, harmonize, animateness, extemporization, flavor, pleasure, etiquette music, and light-hearted, etc. These concepts are generated from the national original culture, can be find from the original flow and the ancient heavenly ritual, and ultimately, both are seeking for the stage of a unity of heaven and man from the purification.

There are 111 main conveniences that Korean dance has in common with history research areas. Both could be categorized as age, ryupa, kind, local, and life of five. This study analyzed Korean dance history in order to provide direction for the development of localized educational content. For this purpose, we redefined the needs and professional structure of the writers of Korean dance history around the cheotjae, or the contemporary Officer. The other purposes of this study were to ensure the clarity of the Korean dance category and to express the needs of the Korean council of dance-related institutions and organizations. Prior to the development of the orientation of the educational content, the universality, consistency, and originality of Korean dance would need to be combined. This would construct a systematic framework for the educational contents of the Korean traditional dance historical research.

The purpose of this study is to develop interdisciplinary research between dance studies and big data analysis. To this end, the text mining technique, which extracts meaningful information from text, was adopted as the research methodology. In the process of text mining, original PDF texts on the themes of Chum/Muyong(dance), morphological analysis, user dictionary construction, and social network analysis were collected to extract significant named entities and clarify the relations between them. The outcomes of the process, which comprised the extracted text data (total 10,231 copies), a named entity classification table, and a network of named entities, were loaded into the big data analysis system under development. The findings of the study are as follows: First, there were 25 total morpheme types, with 24,691 words with a frequency of more than 100. From these, a second morphemic analysis of sentences containing words such as “Chum” (춤), “Mu” (무), and “dance” (댄스) was conducted. It was revealed that in parts of speech with a frequency of 10 or more, there were 3,057 nouns, 602 proper nouns, 352 verbs, 205 numbers, 135 adjectives, and 35 adverbs. Second, a user dictionary was developed in the form of a taxonomy with stratification between hyperonym and hyponyms. The dictionary contained 2,404 words, which were classified by theme, person, dance piece, genre, theory, function, element, and period. Third, social network analysis revealed that the terms “Muyong,” “Chum,” and “arts and culture” were closely interconnected at the heart of the network. In contrast, dance deviated somewhat from the center. “Dance” was the only word to be connected with the network of dance sports and jazz. This study is significant because it represents the first attempt to apply text mining to written records on dance. In addition, it could suggest ways to expand the use of big data analysis to dance studies. Based on the study, a big data analysis system that is specialized in dance was developed, and the contents will be updated continuously.

Byung-Choen Park’s Jindo Drum Dance is a masterpiece that strikes a balance between traditional Korean music and dance. As one of the most representative traditional dances, this dance has been loved and performed by many people for a long time. This study focuses on discovering the unique qualities of Byung-Choen Park’s Jindo Drum Dance by examining its movements through Laban Movement Analysis. Along with this analysis, this study also explores the special concepts and philosophical meanings embodied in the movements of the dance. As a Certified Laban Movement Analyst, the author analyzed the movements based on the dance film shown at Jin-do on November 7, 2008. The movement qualities of the Jindo Drum Dance are as follows. First, the dance employs both regular beats and irregular up-beats that cause disorder within order. Second, the limited torso movement while holding a drum enhances simultaneous and, consequently, harmonized arm and leg movements. Third, diverse arm and leg gestures draw curved and straight spatial designs by using peripheral and transverse spatial pathways. Fourth, in most performances, the dancer faces the front and right and left forward side directions based on the proscenium stage. Also, the diverse spatial directions of all body parts within a personal kinesphere create three-dimensional volumes with mixed diagonal lines within a cube. Fifth, the inner impulse of the movements demonstrates an Effort phrase, such as Action Drive, then Bound and Free Flow and Passion Drive, versus Remote or Mobile State. These Effort phrases reveal a unique Korean dance aesthetic, which consists of a harmonizing of Jeong Jung Dong-stability and mobility, as well as calm and active. Sixth, these five special qualities rely on a structure that includes principles of repetition. Repetitive movement qualities help audiences appreciate and evoke the unique Korean sentiment, Shin-myung. All of these movement qualities are well orchestrated in between two opposing poles, such as harmony and chaos, regular and irregular, soft and stiff, strong and weak, curved and straight, and feminine and masculine, which eventually imply the special Korean cultural concept of Jeong Jung Dong and Dong Jung Jeong, which is based on Yin-Yang philosophy.

The idea of Korean dance that humanity and art should conform to the nature of heaven and earth is in common with Confucius' Confucian thought of Confucius. And it is connected with the aesthetic reason of harmony of right personality and healthy body. This study analyzed the aesthetics of Korean dance through the unity of heaven and human and I Keji Fuli between the as aesthetic feature of Confucian textuality. First, Munmyoilmu has a human the aesthetics nature and aesthetic character with a human the centered feature that makes up the virtue and personality of individuals and further builds a beautiful human society together with oneself and others. Second, the Kang Seon‐yeong style Taepyeongmu Dance endeavors to make a world in which a pervasive behavior affects the social community and all people can live in a society where order is fulfilled. It is a form of harmony and order of the heaven and earth, mediating the sky and the earth. Third, Dongraehakchum Dance with an idle creature of the gentry’s dancing, expresses the moral nobility of Confucianism that the crane possesses. The aesthetic consciousness of the viewer can be seen through the dance of the moral sublime of the coexistence of heaven and earth.

In this study, I examined how the succession and modernization of tradition has been emphasized through the articles related to dance in North Korea’s comprehensive art magazine Joseon Art focusing on its traditionality and modernity. The research method was centered on literature analysis and image analysis. In the literature, from the first issue of 1956 to the first of June 2000, 344 out of 468 articles were reviewed and analyzed. The analysis revealed that the majority of articles has focused on the discussion on the issue of inheriting and developing the people's dance heritage among the anti - revolutionary dance heritage and ethnic classical dance heritage. Based on socialist realism as a principle in succession and development, discourses in the articles have emphasized revolution in contents and have tried to create dance based on national characteristics in terms of form. I can see that the articles have strived to present the dance as a means of educating people’s ideology. The contents discussed in the Joseon Art from the 1950s to the 1970s were found to be further developed in the later period. North Korea has developed dance that promote the superiority of the Korean people based on Juche ideology. It was found that the principles related to dance decided before the 1980’s have continued in the “invariant law”.

Purpose of this study is to determine idealistic boundary of aesthetics ultimately pursued by investigation of aesthetic contemplative norm defined by traditional philosophical thought inherent in the Korean Dance. The aesthetic consciousness and mental boundary formed from aesthetic contemplative norm of the Korean Dance has created the beauty of harmony, personality, and nature. This includes the 'life characteristics' precious as a human being, 'individuality' to respect an individual, and 'wholeness' that seeks harmony of an individual and the whole. The idealistic boundary of aesthetics inside the beauty with such characteristics can be summarized as follows; First, 'Spirit-energy (Ijeonghapiljeok) boundary of aesthetics' means harmonious relationships between reason and emotion. Namely, it aims harmony and unification between rational boundary and emotional boundary with artistic spirit to follow profound harmony of nature and to pursue new things. Second, 'Life-oriented boundary of aesthetics' includes lively appearance of substantive nature in a mind. It reveals that the appearance of nature itself is the origin of beauty and that 'life characteristics' that being alive itself is beautiful are true beauty. Third, 'Transcendent boundary of aesthetics' contains spirit of the heaven. United aesthetics boundary is to realize the order of nature and to pursue harmony of the boundary between nature Taoism and dance spirit. Surreal time and space world in freewheeling state without any confinement in dance is the best idealistic aesthetics boundary crossing over boundary between human and the god, boundary between reality and unreality, and boundary between labor and play through freedom of deviation. As discussed above, 'Korean Dance's aesthetic contemplative norm and aesthetics boundary' contributes a clue to aesthetically determine the original form of Korean Dance theory and the development. Aesthetic consciousness and aesthetic dignity of a work, and 'idealistic aesthetics boundary' will identify aesthetic categories to determine aesthetic characteristics inherent in the Korean Dance.

Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.

This study focused on the transformation process in which the traditional dance of Korea created new content and forms and wrote modern cultural discourses after the appearance of a modern theater. The construction of a theater established a modern value system including the perceptions of time and space, formation of a consumption structure, and emergence of the audience in a horizontal order. These changes happened around theaters such as the Mudong Banquet Hall, Hyeoryulsa, Gwangmudae and Danseongsa in Korea, and these spaces attracted the attention of the public through the changes of their microscopic repertoires mostly based on the traditional arts. They held values as they provided the public with aesthetic objects to be enjoyed and created a new cultural tradition through the gradual transformation of the culture. The traditional performance arts communicated with the public and moved forward by making an adjustment into stage performance arts in the middle of microscopic transformations that included the star system based on two Gisaengs of Gwangmudae, Ok-yeop and San-ok, a series story in a newspaper called "Yedanilbaekin," and long-term performance of Gangseonru.

This paper discusses the impact of invigoration of regional dance on the basis of the need to construct the Korea National Dance Center. Under the premise that the Korea National Dance Center will establish branches in various regions along with a headquarter in Seoul, the impact on regional dance revitalization would include specializing regional dances, fostering local dancers, supporting programs that promote regional dances, developing networks between regions or at home and abroad, promoting theories and criticism of regional dance, and creating dance related jobs. The Preparatory Committe for the Korea National Dance Center is hoping that the center will provide a way to overcome much of the structural problems of the Korean dance field and overcome the field’s overall imbalance. In particular, it can have a more encouraging effect on invigoration of the dance field in each region as well as in Seoul, and this will naturally help to establish the global competence of Korean dance by distributing and expanding Seoul-centric activities across the country. In order to do this, rather than looking at the profits and losses of each dancer, it is necessary to make public voices for the entire dance field.