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.

This study aims to investigate the activation plans of Korean cultural artists through the modern reception of performance art and to design a new conscious transition of traditional art into popular art. Today, the Seoul Performing Arts Company is a group representing Korean art with unprecedented experiments involving external and internal changes. This study examined the developmental plans of the Seoul Performing Arts Company and its comprehensive artwork, including singing, dancing, and music. The study employed Microsoft Excel, a data processing program, to summarize the list of performances by the Seoul Performing Arts Company and to analyze the three genres of singing, dancing, and music. In addition, the company performers were interviewed about the meanings of modern singing, dancing, and music. These study methods allowed investigation of the characteristics of traditional art genre with singing, dancing, and music as well as the direction and strategic aspects of comprehensive art. This analysis seeks to reorganize perceptions of traditional art as public art exceeding the boundaries of genres in the performance industry while continuing to create comprehensive Korean artwork containing a mutual communicative structure.

This study focuses on how to teach general dance education in university environments where a dance department does not exist, making it difficult for students to approach dance as an art. Within such a context, this research aimed to teach a general dance class in such a way as to improve students’ perceptions of dance as art. The research questions were as follows: First, what is the perception of general dance education for students who live in areas where people lack opportunities to experience dance as art? Second, what should be taught in a general dance education class in order to activate perceptions of dance as art? Third, what points could be improved in a general dance class in order to revitalize dance as art? This study followed an action research format, focusing on a real situation while seeking to understand the role of education. The participants were five male students taking a general dance class at a four-year system university located in Chungcheong province. In this context, it is difficult to offer various dances as art forms to students because the class runs semester by semester, making it difficult to meet all student requests in such a brief time. In addition, the university lacks any other dance classes, so students had no choice and could not compare with other classes. Therefore, the interviews completely focused on the researcher’s class, lacking comparisons with other classes. The study results indicate the following effective approaches to a general dance class. First, the class needs to include “dancing for physical exercise.” Second, the class needs to be “naturally experienced.” Third, the class needs to be “exciting and communicable.” These results emphasize that dance is not a “serious” class but offers comfortable and interesting learning to students. In addition, educators need to consider the students’ responses and develop teaching content and methods depending on the situation. Therefore, dance educators teaching general dance classes must consider various environments and students’ interests. Many action research studies on general dance education have been published, and people can continue to share their experiences in the future. Furthermore, we can expect increasing interest in dance as art.

This study investigates whether teachers in the field of public elementary education, who did not major in the arts, can actively utilize artistic activities in teaching-learning methods. The subjects of this study were 9 teachers who had not majored in any of the arts. In 2014, from the first class on May 7 to the last class on December 10, for a total of 15 classes, these teachers received a demonstration class, experienced the arts, produced artistic works, and developed programs. The researcher provided time for the subjects to experience artistic education and subsequently develop an educational proposal that could be actively utilized in the educational field. Through this process, the researcher was able to derive the following conclusions. First, it was possible for teachers who had not majored in the arts to develop art-integrated educational programs and because this development was led by teachers, they had no problem applying the programs in the field. However, because there was a premise that such development was made in collaboration with art education experts, discussion regarding collaboration between teachers in active service and experts in art education is needed. Second, as art education is a teaching method for obtaining long-term effects, in order for teachers to actively utilize it in the educational field, priority should be given to teachers to having sufficient artistic experiences and the appropriate environments in which to develop educational proposals. To this end, multi-sided support should be sought, for example, opportunities for long-term training or the development of educational courses and tools.

The purpose of this study is to examine Western works of art through a historical and archival point of view related to arts psychotherapy. The method of approaching visual works of art is based on essential attributes of art therapy history. The theoretical background is founded in publications and research papers relating to art history, arts philosophy, and expressive arts therapy. To examine contemporary Western works of art and artists, Pablo Picasso, Jackson Pollock, and Henri Matisse were selected for analysis and exploration of the origin of arts psychotherapy. For the purpose of discussing the conceptual foundation of dance therapy, the characteristics of Western works of art and artists were examined, resulting in the following findings. First, the characteristics of Pablo Picasso’s “Three Dancers” include free-form expression, destruction of form, and bodily expression of subjective emotions arising from an inner world. In particular, “Three Dancers” exhibits Symbolism, which is one of the main elements of dance/movement therapy. Second, the characteristics of Jackson Pollock’s “Mural” and “Rhythmical Dance” represent Shamanism and strong Body Action, both from the artifacts and the process of creating them. Lastly, Henri Matisse’s “Dance the Second” and “Two Dancers” show a simple and strong color composition which emphasizes the harmony of nature, humans, and the power of Rhythmic group activity, also a main concept of dance therapy. As a result of the analysis, these three important Western artists and works of art are seen to demonstrate meaningful perspectives and theoretical foundations of dance therapy. Indeed, their works of art could be considered valuable documents of dance therapy history. This study is limited by its focus on only a few selected artists and works of art. A larger, follow-up study is needed to rule out over-generalization. Second, interpretation may be limited by the subjectivity of the author. For this reason, the author included a number of references to support the study’s point of view.

This study investigates the historical process in which ballet in Korea was constructed as fine art. Particularly, it focuses on the ballet’s abrupt and conspicuous growth right after Korea’s liberation from Japan. By delving into materials of the period including newspapers, this study conducts a discourse analysis to inspect sociocultural meanings of ballet as fine art in Korea. In the early stage of its importation, ballet had several disadvantageous factors to be regarded as fine art. It had linked to aristocratic formality, which was condemned by modern artists. Ballet’s exotic toe dancing thrived in popular entertainments such as revue. A turning point came with Korea’s liberation occurring with the end of the Second World War (WWII) in 1945. The fact that ballet suddenly became important when the need for constructing a modern nation was urgent suggests the nation’s key role in the change. While the international society was restructured by the global norm of nationalism, nations functioned as the agent of culture construction. The nation’s leading role in it freed ballet from commercial arena and from past association with aristocracy. Ballet could claim disinterestedness and public welfare, which were at the core of fine art. For constructors of national culture, ballet was a useful means, since it provided a transnational form that subsumed locality. Also, as a form of tradition, ballet afforded a connection to antiquity which was imagined to be shared throughout the nation. Moreover, ballet’s classicism embodied elegance and order, which were desired during the postwar era. In conclusion, the process of national culture construction was a key for ballet in Korea to be constructed as fine art. Ballet as a national emblem represented the nation’s level of civilization in the international society and a public monument for the members of the nation.

The purpose of this study is to identify the core capabilities necessary for a dancer to have an expertise in, art education and to incorporate the capabilities along with a practical plan in order to educate professional dance educators. The results have shown that the arts educators need core competencies in the fields of emotional cognitive, creative convergence, problem solving, humanistic, cultural educational, artistic, and healing competencies. These core skills are necessary in order to develop competence necessary for the artistic, educational and research activities of a dancer. For this purpose, a practical plan in which dancers can follow comprises steps of reflecting on the dancers who are already in the dancing world, vitalizing a sharing system amongst art educators. It also requires dance art education standard specification. and guidelines setting as well as activation of educational content and globalization of traditional fusion culture.

In the 20th century, Bauhaus influenced the arts as a whole by its experimentation and originality. Its activities have been related to the expressionism and abstractism in dance in conjunction with the German modern dance era, and German modern dance has also developed through intercultural exchange with American modern dance. Therefore, it is necessary to study Bauhaus' art world, concept, and its effects on the actual dance arts. Also, I aim to find out what the overall artistic tendency leads to today' s contemporary dance. As a result, we examined the influence of the overall artistic tendencies of the Bauhaus figures such as Walter Gropius, Vasily Kandinsky, Oscar Schlemmer, and Moholy Naji, on dance, which Bauhaus pursued as a theater has led to the expansion of time and space. In addition, not only Bauhaus is a simple mechanism but also integrated education through various aspects such as architecture, crafts, theater, dance, and stage art.

The purpose of this study is to explore the creative scene of youth dance artists by revealing the meaning of the audience to them based on their experience of the creative support project of youth dance artists. In order to do so, in-depth interviews were conducted with three youth dance artists who were beneficiaries of the program and the transcriptions of the interviews were analyzed qualitatively by constant comparison method. From the results, I was able to derive the significance of the following three categories. First, starting from the conception phase, the youth dance artists try to instill in their performance a value that is up to par with the high expectations of the audience. Second, they think that the critiques by critics and other professionals in the field are limited and propose the need to give more weight to the reactions of the lay audience as an evaluation factor. Moreover, they suggest the need to diversify the evaluation committee and review committee members in order to encourage the inflow of new dance artists. Third, the youth dance artists point out the difficulty of their activities reaching the critics as well as the media and point to the audience as a remedy to the issue as well as a driving force to construct new field of dance. First, as an element of support in the program, I propose to strengthen the support in the domain of criticism. There is also a need to improve the program’s current process of evaluation and review to emulate a structure in which currently active artists, professionals of various fields, and the lay audience can participate. Finally, I propose to strengthen the role of the country as a facilitator that encourages the support of its citizens and emphasizes the role of the market.

The purpose of this paper is to examine how nationalism has been operated and emerged in the process of establishing the National Theater of Korea and Sejong Center for the Performing Arts, National Gugak Center, and Seoul Arts Center. I analyze the records about the construction of the theaters from the viewpoint of nationalism. Also I examine how the nationalistic view had been expressed architecturally and how the characteristics were revealed in the performances. The history of the construction of the theaters was entirely led by the state during the 3rd, 4th and 5th republics. The 3rd, 4th and 5th republics, all of which had been ruled by undemocratic regimes, emphasized nationalism in order to compensate their lack of legitimacy. The ‘nation’ has worked as a very effective concept to unite the whole people into a single identity, and traditional culture as well as art have been used as the most effective means of raising national pride. As such, the construction of the theaters as an infrastructure for expanding traditional performing arts was essential, and it was actively promoted in this background. At the height of this flow, which began in the 1960s, there was the 1988 Seoul Olympic Games.