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.

The purpose of this research is to confirm the value of the New Folk Song Dance in the history of modern Korean dance. Based on literature review and video analysis, this research investigates the characteristics of the New Folk Song Dance by analyzing the dance movements of ‘Cheonan Samgeoli’, ‘Nillilia’, and ‘Cheonyo Chonggak’ in cultural films reproduced under the direction of the Society for Dance Documentation and History. Based on the dance analysis theory of Janet Adshead, the characteristics and values of New Folk Song Dance were explored by analyzing the components of dance (movement, dancer, visual and auditory environment) and the nature of dance (genre and style). The result of this research shows that the New Folk Song Dance has the characteristics of cultural expressions of modern dance through which we can enjoy occidental music as well as traditional one. The dance is composed of simple and repetitive movements as well as a variety of formation, which makes it very easy for the public to learn. This allows us to confirm the value of the New Folk Song Dance as another type of modern dance heritage, ultimately leading us to redefine the perspective of modern dance culture.

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.

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.

This study focuses on analyzing how Han is embedded and characterized in a traditional folk dance, Seung-mu, and its relationship to the Korean culture and dance. This research employs literature reviews for the concept of Han and historical background of Seung-mu and Laban Movement Analysis (LMA) for an objective analysis of movements. The findings of the analysis are as the follow. A combination of slowly Rising lower body, gradually Opening arm and Growing torso movements is created by very strict control from the core and Breath Support and is accomplished by a Mobile State—Bound and Sustained—Effort constellation with a moment of inhalation. Continuously following Scattering arm and throwing long sleeve movement accompanies with a moment of exhalation, which comes with Diminished Strong, Free, and Quick Passion Drive Effort. Then, highly controlled outpouring exhalation directs a smooth knee bend and arm close with following soft curves of the long sleeves. The intensely controlled breath supports Sinking Shape Qualities in whole body and inner energy stream smoothly comes back to previous Mobile State, Bound and Sustained Quality. These particularly sequenced movement qualities creating a movement phrase mean a qualitative pattern of the Seung-mu and also reflect the emotional transforming process of Han. The Bound and restricted characteristics signifying strictly controlled inner impulses of lamentation, in Seung-mu refer to a tragic history and strong social restrictions like taboo within the traditional society of Korean people. The hurt and lamenting feelings from their tragic fates are transformed into the artistically refined expressivity with the embodiments of positive and peaceful feelings in Seung-mu.

This study is about the Kim Su-ak’s Salpuri-chum focusing on Jinju region. The methods of studying are direct learning and collecting basic sources such as interviews and technical training from Kim Su-ak. Kim Su-ak first acquired Salpuri-chum while learning various dances from Choi Soon-i who was a dancing master of Jinju Gwonbeon (Female Entertainers’ School in Jinju Region). But she formed her own syle Salpuri-chum with adding her artistic talents. The progress of this study was as follows: first, learned the formation of Kim’s Salpuri-chum. Second, analyzed the features of Kim’s Salpuri-chum while dividing the dance into incidental music, important dance phrase, and aesthetic characteristics. As the result, both Kim’s Salpuri-chum and Salpuri-chum in Jinju Gwonbeon style give strong feelings to the dancer or the audience with the pleasure rather than the sorrow; also these dances suggest a dynamic image rather than a static image. While as Kim’s Salpuri-chum is recognized artistic value, but unfortunately, the dance was not been designated as intangible cultural heritage. Therefore the rate for learning students for this dance is relatively decreased. However, this dance perfectly contains a unique and intact form of local dance movements in Youngnam (Southern regions of Korea), so that the study of this dance will be playing a role to reveal the historicity of Jinju dance. Also, I hope to enlarge various bases of Kim’s Salpuri-chum.

The purpose of this study is to examine the trend of dance therapy research while providing scholastic information for the future research. To the study, the researcher analyzed 43 research papers on dance therapy which are mainly domestic doctorate dissertation. The information was collected from internet research while retrieving in the Korean Studies Information. ‘Dance healing’ was main word for the internet research. The researcher aslo use keywords with trend of study on dance therapy and theme/object/method of study. The result of study is as follows: Dance therapy is being studied in the academic field at several domestic universities(23 universities). It is mainly studied in the departments of athletic area(47.8%) and health/medical area(27.9%). With respect to type of study, quantitative study(79.1%) is much more than qualitative study(13.9%) and integrated study(7.0%). With respect to tool of study, research by questionnaire(56.8%) is most prevalent. With respect to sample of study, general people(55.8%) is slightly higher than patients(44.2%). Collective sample(87.5%) and mental disease(47.4%) are most prevalent in the sample of patients. With respect to independent variables as the method of dance healing, DMT(41.9%), Korean traditional dance(18.6%) and other dance program(16.3%) occupy 76.8% of the entirety. Health (43.5%) is highest in the dependent variables as the object of dance healing, followed by disease(32.6%), physical strength(8.7%), physical composition(7.6%) and physiological function (7.6%). Related to the health, mental health (37.5%) is higher than physical health (6.5%) and in the disease, mental disease(28.3%) is higher than physical disease(4.3%). In the lower factors of mental disease, the 3 factors of depression(38.6%), stress(26.9%) and anxiety (23.1%) occupy 88.6% of the entirety. The lower factors of mental health appear in the order of self-respect(29.4%), quality of life(14.7%) and emotional intelligence(8.8%) and they diversly appear in the 14 lower factors. Although this study was done for domestic doctorate of trend of study on dance therapy, the study should be extended to include master's degree or journals and study on the meta-regression analysis of dance therapy effect is necessary. The author intends to suggest that the development of dance therapy program and the study to develop questionnaire as tool of study is necessary as independent variable appearing in the result of this study.

This study starts from the question of what kind of dance had been appreciated by Chinese envoys. The major spots where Chinese envoys visit are Uiju-Jeongju-Anju-Pyeongyang-Hwangju- Gaeseong and there are banquets for Chinese envoys, with female professional entertainer, called as gisaeng’ s dance performance. According to Joseonbu朝鮮賦, solmu率舞 which is a type of group dance was performed in Pyeongyang and Hwangju. Dance was included even in various amusements. And it was intended to show the very peaceful time to Chinese envoys through performing dance and song by gisaeng at han river. Also small scale dance was performed in Chinese envoy's personal space. The dance which was enjoyed by China Ming envoy in court banquets for Chinese envoys is ․․․․․․ ․․․․, court dance called as jeongjae(呈才). The number of gisaeng who entertained Chinese envoys was forty, during the reign of king of Sejong. The number of dances which has been enjoyed by the Qing dynasty envoys is smaller than what has been enjoyed by the Ming dynasty envoys. The number of parties and dance performances for Qing envoys in local is also smaller than Ming dynasty envoy's case. The Qing dynasty envoys appreciated jeongjae which was performed by dancing boys as called mudong in the court. According to diplomatic records in 1720, as called Tongmunganji, those were ㆍㆍㆍ etc.

This study is on the eco-art from two dimensions, intentional and unintentional. As the cases of unintentional eco-art, the summer and winter ceremonies of Kwakiutl on west of Canada, written by Eric Wolf, and the winter ceremony Smila(Spiritual Dance) and related dances of Chehalis Indian Band are being considered. Unintentional conceptualization and realization as eco-art are investigated. The other one is on the intentional trials in contemporary societies for the integration of ecology and art. Cases of ‘performing nature’ are interpreted. Maehyang ceremony in Muan-gun tidal flat and related dance are considered. Rituals of Kwakiutl and Chehalis tell dances, as essences of rituals and as the subjects of expressions and communications, exist. The dances exist as the arts realizing relations between natural beings and human beings, realizing the transformation of natural beings, of human beings, of relations between human beings. Ecological relation between nature and man are realized from the immediate feeling and perception of bodily experience. The meanings of the relation are also produced from the feeling and perception. The term and concept of eco-art do not exist in these rituals. But realizing process of ecological relation and interaction is also the one of eco-art unintentionally. Body and dance are main subject and mediate of the process. Recently eco-art, the term has been used by some scholars and artists. But, in many cases the term is not used actually realizing eco-art. Some trials of modern art as ‘performing nature’, Maehyang ritual and dance as reinvented one composed of partial ideas from trasitional one are those realizing the issues and ideologies intentionally. As common phenomena in the two dimensions eco-art expresses ecological ‘relations’, not merely depicting nature. Commonly too, materiality of body and things on nature and human life, feelings and perception of them form the ecological relation.

An English terminology ‘community dance’ could be translated into Korean “Ji-yeok-sa-heo-ui-chum (Dance based Community)” or “Gong-dong-che-ui-chum (Communal Dance).” These kinds of community dance including “Ji-yeok-sa-heo-ui-chum” or “Gong-dong-che-ui-chum”, were nothing new at all, because they have been existed in every society and in every time. However, with boom of community dance in current Korean society, most Korea people are expecting that there are specifical meanings like ‘public concerns’ and ‘artistic value.’ Therefore, the purpose of this study is to define meanings of community dance while how this terminology is consumed by both in Korean popular society and Korean dance society. For this purpose, the researcher uses date analysis methodology. That is, the researcher analyzes data of news clippings and dance research list concerned with community Then, the researcher sums up the brief history of Korean community dance with external and internal approaches. In the historical approach, the researcher argues that how the term and methods of England community dance were combined with Korean communal dance. In the conclusion, the researcher suggests perspectives of Korean community dance.