The purpose of this article is to explain the characteristics of mind-heart and acknowledgement, emphasized in the practice of traditional korea dance, based on the theory of Wang Yangmyung's psychology. We examine the mind-heart, acknowledgement, and the art theory in 󰡔JJeonseubrok(the tradition records)󰡕along with the words emphasized by the masters of the traditional dance, and express them with a language that can be publicized. According to Wang Yangmyung's theory of psychology, we can say that what good mind stands for in "Good dance comes from good mind" is the state where the rightness is embodied in mind and that 'good dance' means the state where 'non-embodiment' of movement and 'non-embodiment' of emotion is realized. In particular, we must always pursue 'sincerity' in the domain of mind-heart, which we know alone. Through these languages, the internal and external value and meaning of Korean traditional dance can be revealed. There is a saying that "effective practice precedes theories of it." Effective practice of traditional dance has existed for a long time. However, the theory of its practice is not sufficient. This article attempts to theoretically explain the effective practice that has always been with us since a long time ago. This article has its significance in that it tries for the first time to theoretically explain the thesis of traditional dance, "Good dance comes from good mind" by using the mind-heart and the acknowledgement of dancer which was emphasized by traditional dancing masters. In particular, it is meaningful that it approached the theory of mind and acknowledgement theory of traditional dance based on the study of Wang Yangmyung.

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.

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.

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.

The study examines Sartre's existentialist philosophy and Ericsson's theory of self-identity development in order to understand and advocate the need for elementary school dance education. Movement through the body can develop self-identity. This is because physical expressions that expose the interior to the outside help to autonomy and achieving. By expanding physical abilities and improving expressiveness, a child can develop his or her own identity. Considering that children grow up amid various social influences such as school life, an appropriate dance education is needed to help elementary school students to culture a healthy self-identity. Dance education provides an aesthetic experience for children to come into contact with society, and affects not only reflexive thinking but also self-identity. A proper approach to dance education in the elementary school years, when children experience sociality after infancy, will not only achieve balanced development, but also contribute to the complete self-identity of the child.

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.