This study considers methods develop a ballet educator training program that can improve ballet education in South Korea, where technique-focused training leads to physical and mental injuries and lack of artistry. A training program model is developed for ballet educators based on the philosophy of somatic dance/movement education, which integrates dimensions of body, mind, and spirit. The framework of the program was formulated by exploring the educational goals and principles of ISMETA, as well as factors such as ‘knowledge’, ‘autonomy’, and ‘peer networks’, presented in the international survey on education, TALIS. Then, we compared and analyzed domestic and international ballet educator training programs to select essential elements based upon the aforementioned three aspects. We made detailed programs such as ‘somatic dance/movement theory, movement anatomy and physiological dynamics, movement analysis, somatic ballet teaching method, dance education theory, and developmental psychology’ for the knowledge factor, ‘reflective practice’ for the autonomy, and finally ‘pedagogic workshop’ for the peer networks.

The purpose of this study is to better understand how Z-generation dance majors respond to different types of dance professors. We surveyed 252 graduates of higher education institutions using independent sample T-tests and one-way ANOVA. Then we analyzed the data to determine whether differences can be observed in a statistically significant way according to the general characteristics of respondents. There was a difference in preference for types of dance professors according to respondents’ age and major. According to our study, Z-generation dance major students prefer to receive education from professors with self-directed and democratic approaches to learning. Consequently, it was concluded that university education requires democratic changes in order for students to be able to participate in decision-making. The results of this study are expected to contribute to improving the effectiveness of dance education, as well as directing future higher education.

This study explores the primary issues in international performing arts exchange in the post-COVID-19 era. In our in-depth interviews with dance artists, each with over eight years of experience in international exchange before and after the pandemic, we witnessed the challenges and opportunities posed by the current pandemic situation. We used phenomenological methods to analyze the interview data. Our analysis revealed four problems: (1) the gap between live performance and recorded online performance; (2) the lack of equitable collaboration between artists and arts administrators; (3) the lack of diverse approaches and forms of support; and (4) the increase in barriers to international performing arts exchange. Our findings suggest countermeasures, such as: (1) balanced support both for live performance and online performance; (2) more flexible communication between artists and administrators; (3) adoption of more diverse and creative modes of international exchange; and (4) provision of training and education to promote artists’ access to and mobility in international artistic exchange.

The purpose of this study is to examine the historical background and culture of the four ethnic groups, namely, Mongolian, Uyghur, Tibetan, and Korean-Chinese, and to derive cultural characteristics of their folk dances by examining how their ethnic culture has been embodied in the dances. In China, a multiethnic, multicultural country with 56 ethnic groups, dances performed in each ethnic group is part of life formed based on the cultural and geographical background of the group, and the contents, form, rhythm, and style of the dances were all formed and inherited in various ways due to differences in lifestyle and religious culture. Among those ethnic groups, Mongolian, Uyghur, Tibetan, and Korean-Chinese are the most localized ethnic minorities distributed around China's borders, and their folk dances have spread nationwide faster than those of any other ethnic groups. In order to promote the preservation and development of civil folk dances, it is necessary to examine the folk dances that are currently being preserved and developed and understand their cultural characteristics. By examining these characteristics, this study seeks to contribute to accurate perception of civil folk dances and to their preservation and development.

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 study aims at reevaluating the artistic realism of Choi Seung-hee’s works not only in her full-length dramatic dances after her defection to North Korea but also in her early modern dances with the theme of social participation. The kind of realism that she had pioneered in dance field in 1930 continued into her proletarian dance but discontinued between 1933-1945 due to severe criticism from home and abroad. This study ascribes the undervaluation of her activities in this period to the male mainstream perspective of the society and the decline of proletarian literature. f After her defection to North Korea, Choi’s proletarian dance developed into full-length dramatic dance, which can be referred to as the stage of her completion of socialist realism. The full-length dramatic dance has great meaning in the Korean dance history in that: first, it elevated “dance as art” to a higher level; second, it held a feminist perspective; and third, it achieved a high degree of completion in terms of choreography. Henceforth, Choi Seung-hee’s activities as a pioneering realist dancer in Korea deserves reevaluation in the Korean dance history.

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.

Dance education has the potential to improve the spirit, because of the essential of dance which requires the participation of whole mind such as the creative, emotional, moral, spiritual. Exploring the theoric and experiential grounds about dance and mind and heart education, this study is to guess the possibility of mind and heart education through the dance, and suggest the definite data. What dance contribute to mind and heart education are divided into four aspects: the intellectual, the emotional, the moral, and spiritual. First, dance can help one improve the creativity. For this, it is important to provide the chances of movement study, and use various sources and mediums. Second, dance can help one cultivate the emotion and sensibility. For this, it is important to help practice the movements, and recommend various indirect experiences. Third, dance can help one cultivate the personal and social virtue. For this, it is important to promote cooperative learning, and praise and encourage. Fourth, dance can help one improve flow, happiness, and self-realization. For this, it is important to take the lead, and recommend various indirect experiences. However, researches about its content and method are all yet to be inadequate. To rectify, theoric discussion in depth, developing practical teaching model and programmes, practice in various educational settings are needed.

This study is to trace the fundamental structure of how PKIP, which was developed by Anna Halprin, a dance educator, artist and the founder of Tamalpa Institute, is experienced by dancers. For this, we have searched the background in which PKIP was created and its work structure and executed a qualitative research on dancers’ experiences. Five professional dancers with their experiences of more than ten years in dancing and over six months in PKIP were selected as study participants. The study participants’ experiences through PKIP were divided into three main topics i.e. the penetrability among media, images as the inner teacher of creativity and the creative transformation of emotions and again, each main topic could be divided into two sub-topics. Through PKIP, the study participants experienced the whole system where they realized that their movements generated interactions between the inner images coming across the dancers’ minds and the outer images in drawings or poetic languages, and through these interactions, they came in and out of two or three different art media’s areas freely and let the media’s influences inter-penetrate each other. Also, they found out images were activated as their inner teachers of creativity. Through PKIP, they discovered the inner tensioned voices commenting on their own movements and could realize that creativity which they have as dancers expanded as they trusted their subjective images. Lastly, the study participants confronted their emotions in a different way from the ones they experienced in general dance performances and this became the resources for their new, good-quality dances, and also PKIP provided each of them with an important private area that the participants might have as dancers because PKIP dealt with their emotions just directly; the participants perceived all these they experienced as their importance experiences.

This study discusses Merce Cunningham’s creation of (1976) which is composed for video-film dance. The choreography of reveals exact methods used for video-film dances in early 1970s. The process of creating video dance were referred to get the ideas how the choreographer understands and approaches to the scenes in the camera using cuts and flowing of dance. This study intends to utilize the compositional ideas of as a spacial design for video dance. The improvement of technique could determine the quality of dance and dancers and there are aesthetic influences from the Cunningham technique. The aesthetics of is found in the form, structure and its unity, that is intensified by expansion of spacial design and the relationship of time and dynamics in continuity. By placing various sequences of movement phrases on stage simultaneously, he found aesthetic elements from spacial design. In video film of , the camera decides where to look by following the dancers without inferring the flowing of the movement sequences in space. Fluidity is the aesthetic quality that the video of is intended in principal. Besides we find the phenomenal, the formal in aesthetic elements of the dance.