This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

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 fact that both dance and calligraphy have a common formal concept with harmony, balance, and rhythmical beauty as the long-standing traditional forms of art in the Eastern world. First, the study examined the relationship between dance and calligraphy by looking at old literature and successfully identified the common ‘formal concept of beauty’ they shared. During the process of understanding calligraphy, the study noticed that the emotions which occurred while moving the brush were not much different from the emotions that arose when the dancer moved their body to express a certain movement. It was found that the contents and the emotions that occurred during the creation phase of dancing and calligraphy were almost identical. Instead, the sole difference was that calligraphy used the movement of the brush, while dancing utilized the movement of the body and the eyes. This suggested that dance and calligraphy shared the concept of beauty of ‘form, harmony, and control.’ With this result, the study suggested that the art of calligraphy and dancing had a possibility to be performed together in various ways under harmony by creating an environment that allowed artistic cooperation.

The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

This paper examines the implications of the current status of street dance in Korea, which is rapidly growing aided by institutionalization in the cultural industry and education market. This study begins with the researchers' recognition that situations requiring a clearer definition of street dance-related terms frequently occur. We interviewed street dancers from various positions to figure out the practical uses and perceptions on street dance terms. In order to illuminate the theoretical significance of the emphasis on stylized sub-genres, which was emerged as a core theme during the coding process, we refer to Paul DiMaggio's sociological study on classification in art. The findings are summarized as follows. First, various classification systems evolved as street dance in Korea transformed first emerging as amateur popular dance, moving on to cultural industry, finally arriving as professional art. Second, specific sub-genres are increasingly hierarchical, universally recognized, and ritually bordered, the pattern of which suggests a canonization. However, even during the institutionalization and canonization, street dance reveals complexities that do not fit into a static classification system.

By 1979, 95 culture and arts centers had been established, and there was an increase in the number of these centers every year from then on. In 2016, there were 229 culture and arts centers nationwide. The culture and arts centers established with the support of the government, needed the management of operation to suit local characteristics and environment with the lapse of time. To examine the operating state of dance performances of culture and arts centers, this study dealt with the performance record of the field of dance in performance halls from 2011 to 2016. Region, operator, and year were selected as demographic variables to make a comparative analysis of the trend in the changes of the variables. SPSS 21.0 was used to perform computational processing. The findings of the study were as follows: To the performance record of the field of dance in the performance halls, the total yearly number of dance performance cases was a mean of 2.6. and the total yearly number of dance performance days was a mean of 3.3. and the total annual frequency of dance performances was a mean of 3.9. Concerning the rate of paying audience in the area of dance, it stood at a mean of 15.2 percent, and was highest in Seoul. As the results, the number of dance performance days and the frequency of dance performances were low relatively to the number of dance performance cases compared to those of other genres. It implies that dance performances are given just on a temporary basis. Performance facilities that are tailored to the specificity of the genre of dance are necessary, and careful performance planning and assistance from the government are both required to ensure the continuity of dance performances.

This study identifies the current status of dance departments at universities in Daegu and Gyeongbuk and to raise the need to improve dance education programs and to seek a change in educational direction for dance departments facing the crisis of the abolition at the local universities. Starting with the department of dance at Hyosung Women's University (currently, Daegu Catholic University), which was established in 1974, the department of dance was established at Keimyung University (1984), the dance major at Yeungnam University (2002), and the department of practical dance at Daegu Art University (2004) in succession. The dance culture of Daegu and Gyeongbuk was formed and developed through dance education and creative activities have been centered on these universities. Today, however, with the rapid decline of the school-age population and the university restructuring policy, the dance departments at local universities face a crisis through the abolition, unification, downsizing of undergraduate majors and reform of specialty majors. Therefore, if the departments of dance at the local universities establish a step-by-step educational program that considers not only the admission process, but also student’s employment after graduation, and expand programs such as directing, management, stage, lighting as well as practical education centering on fine arts, and if each university presents a paradigm of specialized education to expand investment in creative dance education and to develop a new dance education ecosystem through the formation of a network between departments, community education institutions, and regional art creation agencies, they will grow into a continuous and future-oriented dance departments at local universities.

In this study, the teacher researcher participated in the dance education workshop as a learner to expand the awareness of the value of dance education. I revealed the story of my experience as a learner, and shared the principles and values of dance education found in the experience. For this, the teacher researcher participated as a learner in the dance education workshop organized by S-group and conducted a 'self narrative study' that explored my experience narratively. The principles of dance education found in the workshops experienced by teacher researcher are as follows. I was able to explore the principles of ‘community learning’ which enables people to communicate with others, and ‘active learning’ that the learners experienced and realized by themselves. The values of dance education found in this workshop experienced by teacher researcher are as follows. The experience of interacting with and others has allowed learners to develop their knowledge processing and problem solving skills while understanding others' movements, and to develop their self-management and creative thinking skills while telling their own stories. This body dialogue also allowed them to enhance their communication and community competence. Based on the results of this study, we can find the possibility of human education and competency education of dance education. We suggest the systematic implementation of dance educator and the development of related governance awareness opportunities for expanding the value of dance education.

This study deals with my autobiographical case study regarding motivation, process and aesthetic experiences that I, a professor in the field of computer education, had involved with creating hooded crane dancing. I collected data related creative performance activities such as photographs, videos, memos, dialogues, and pamphlet materials during 2017-2018 and projected live inquiries into a timeline as part of data interpretation. By adopting Artography, I illustrated major aspects of my performative experiences with live narratives as a single case study. The major emerging themes of this study are as follows. First, the case revealed pervasive and progressive passion and energy toward putting interests on knowing and understanding hooded cranes from ecological perspectives by mimicking their social behaviors and gradually tried out small performance events. Second, despite learning folk and court crane dancing, I could keep trying out to create my own versions of hooded crane dancing through connecting myself with nature from the perspectives of migratory birds. Third, this study showed the characteristics that described the process by which choreography work was developed and internalized through trying to understand the ecology of hooded cranes and sympathy with nature. Finally, arts-based inquiry may open up various genres of creative art forms for hooded crane dancing as part of research outcomes; for example, the follow-up researcher can present an autobiographic dancing for hooded cranes after collecting and interpreting her inquiries on hooded crane’s ecological stories.

This study inquires into the name of the Dutbeki dance Ulsan folk people’s traditional dance. This study investigates the meaning of the name of “Dutbeki,” various Dutbaki plays that were fused into other folk dances, and finally the independently transferred Dutbeki play itself. The prior literatures and the process officially confirm the name of ‘Dutbeki’. In 2016, the Ulsan Metropolitan City conducted a complete survey of intangible cultural heritages and officially recognized the Dutbeki of the region as “Ulsan Dutbeki”. This was based on the relevant regulation of the Intangible Cultural Heritage Survey of Ulsan Metropolitan City that formally confirmed the name as “Ulsan Dutbeki”. In this study the name is suggested as the “Ulsan Dutbeki Chum” to honor the tradition of the dance naming. This contributes to establish the foundation for preserving intangible cultural heritages and inheriting traditional culture in Ulsan Metropolitan City.