The purpose of this study was to examine the cases of community dance in America and to find out how to revitalize local dance. For this purpose, Marylee Hardenberg, who played a major role in the Mississippi River revival through a site-specific dance performance, Pat Granny's Dance program for Prisoner called 'Keeping the Faith' and Brooklyn's Care for the disable in a community dance program by Mark Morris were examined. In conclusion, the methods of activating local dances include first, use of specific places to create site-specific performance, second, development of programs for prisoner which can communicate with local publics and third, development various community dance program for disable.

Oyangseon (五羊仙, Daoist hermits of five sheep) is known as one of the fourteen dances of Dangakjeongjae (唐樂呈才, Chinese court dance). It has been performed since the Goryeo Dynasty (918-1392) as a royal dance transmitted from the Song Dynasty (960-1279) of China with a background of the Oyang (五羊, Five sheep) legend. The existing research on Oyangseon focuses on the transformation of Oyangseon, production composition, and narrative analysis based on historical materials, though with little examination of symbolic or metaphorical expressions in choreography. Oyangseon is a dance performance based on a folk tale set in Chinese Weo (越) culture. According to W. Eberhart, Weol culture was developed in combination with the Thai culture and the Yao culture. The present study aims to provide an interpretation of Oyangseon based on the motifs and cultural elements of Oyangseon’s tale from a Weol cultural perspective. Oyangseon's tale tells the story of five sheep delivering grain from the holy world to the human world for a good harvest and well-being. Oyangseon can be understood as a work strengthening or renewing royal authority by invoking the relation between spirituality and farming. Jukgan (竹竿, a bamboo pole) is a ritual-offering-object widely used in Chinese palaces and even in the private sector which represents the presence of deity. Meanwhile, the choreography of Jeonjae is same as the Chinese Ubo (禹步). Marcel Granet said Ubo is an expression of the one-legged goblin's walking (movement) in Chinese myth. The goblin can be recognized as the mountain god or mountain god's messenger whose appearance is interpreted as a metaphor of blessing to human world.

The aim of this research is to understand the dance culture in the government office space of the Joseon Dynasty (1392 ~ 1910). The objects of the analysis are 32 pictures of dancing in local government office space. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically, pictures of dancing in local government space appeared from 1580 to 1796, geographically from Pyeongando to Jeju Island. Most of the dance genres shown in the pictures were jeongjae. The performers in the pictures of dancing included female dancing entertainers called as ginyeo, boy dancers called as mudong, cheoyong dancers, and clowns also. Furthermore, the pictures revealed that a government officer and old men invited at the banquet danced together in the local government office space. This was because dancing was recognized as something wonderful that only a peaceful time allowed. In the Joseon Dynasty, the government office space was the place where people could enjoy dancing.

This study aims to examine the educational development of Choi Seunghee’s training system, particularly with a focus on the development patterns of Korean-Chinese dance education textbooks and characteristics of Korean-Chinese dance education textbooks at Yanbian University in China, which has inherited and developed Korean-Chinese dance based on Choi Seunghees training system.

The characteristics of Yanbian University’s Korean-Chinese dance education textbooks examined in this study are as follows. First, it is based on the method of organizing educational textbooks, which was identified in Choi Seunghee’s training system. Second, the contents that were not covered by Choi Seunghee’s training system have been comprehensively adopted into the textbooks, which thus came to be loaded with abundant educational content. Third, a training system is currently established focusing on the basics of women’s dance movements.

Yanbian University’s Korean-Chinese dance education was able to create educational textbooks that could support the current logical training system due to the Korean-Chinese dance educators’ devotion to research on Korean-Chinese dance education, which was based on the principle of succession and development.

The purpose of this article is to investigate the dance practiced in private spaces during the Joseon dynasty by analyzing paintings and literature. This study is the third part of a series of research exploring paintings depicting dances in various performance venues in the Joseon dynasty. While the first two researches were about dances performed in royal palaces and in public places respectively, this article analyzes paintings and literature of dances in private spaces in the following three ways.

First, dances performed in the personal social gatherings were divided into three types according to the subject: dances performed at social gatherings for the elderly, reunions of officials who passed the national civil service examination in the same year, and social gatherings for the middle class. These dances were performed to strengthen the community spirit or to appreciate the performances of professional young male dancers called mudong.

Second, dances performed to celebrate the longevity of parents on their birthdays are analyzed. In such events, the mother was considered the most important character as well as audience, and the concept of “filial piety” was emphasized in the “Son’s Dance.”

Finally, dances conducted in private folk venues are examined. Some of these paintings portray a son who dances as a “performer” to celebrate his parents’ diamond wedding anniversary. Other paintings depict a clown dancing in a three-day parade where a person who passed the national civil service examination visits his examiners, high-ranking senior officials, and his relatives.

This study sought to identify the effects of Sogo dance learning on brain function in elderly women. To this end, the subjects of the study consisted of 15 experimental groups participating in the practice and 15 non-participating control groups, with the practice period of 60 minutes twice a week for 12 weeks. Each group measured brain functional analysis with Electroencephalogram(EEG) before and after the experiment, and two-way ANOVA was conducted to determine the difference between group (small dance, control group) and period (pre-post) using SPSS 25.0 (IBM, USA). All statistical significance levels were p<.The following conclusions were obtained as a result of setting it to 05. First, the brain function index, which varied between the groups, showed significant changes in five brain function indices: basic rate coefficient (left brain, right brain), attention index (left brain, right brain), active index (left brain, right brain). Second, the brain function index, which differed over time showed significant differences in total of five brain function indices: self-regulation index, basic rhythm index (left brain), attention index (right brain), emotional index, and brain index. These findings could scientifically prove the unique characteristics and intrinsic value of Korean dance through the utilization value of Sogo Dance, and it is hoped that brain science-based dance research will take place in many ways