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.

The purpose of this study is to suggest the direction of disability dance education by analyzing disability dance education research trends. Among the papers related to disability dance education registered in the Korea Education Research Information Service, 46 papers published, which were published from 2010 to October 2019 were examined, through content analysis and keywords analysis. As a result, the research scope has been expanded to the emotional, physical, and social adaptation targets for people with intellectual disabilities, and a number of studies on the use of dance for the purpose of physical rehabilitation while related keywords have been found. Therefore, it is necessary to convert the social members' awareness of the disabled arts through the disability dance education, and it is urgent to develop a dance arts education program considering the characteristics and degree of disabilities and to train professionals in the arts of disabilities. This study suggests a professional educational institution that educates the disabled to become professional dance artists.

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.

This paper aims to compare the forms of basic and creative dances in Tokyo Korean School (hereafter Korean School) and Joseon School by focusing on the national dance education conducted by them, consider what a role the national dance has placed in internal and external events and suggest some tasks that they should perform in the future.

From the consideration , following findings can be summarized:

First, in terms of basic dance, Joseon dance is taught by dance instructors trained in a consistent system with systematic curriculum in Joseon School, while Korean dance education is conducted in an autonomous form at the discretion of the instructors in Korean school. Second, in terms of creative dance, although Korean School put an emphasis on creative activities reflecting the current generation's senses, by considering the flow of times, Joseon School is biased toward the nationalist tendency and has no modernistic perspective. Third, the national dance education in both schools has commonly served as an important medium for promoting the relation with Japan, the country of residence, through external activities.

Based on the findings, the tasks of the national dance education can be suggested, on which the new generation should focus. First, it is important for both Korean and Joseon School to co-host the cultural events in which they can watch and learn each other's dance and create the environment for them. Second, a joint research on the traditional dance of South and North Korea should be conducted, based on regular exchange between dance instructors working in both schools.

The purpose of this study explores the relationship between contemporary dance and feminism, and examines the influence of feminism on the aesthetic and practice of dance. This study was conducted through literature review and case study. I discussed the relationship between feminism and dance through the feminist’s movement and theory developed by Donna Haraway, Elizabeth Grosz, and Judith Butler.

The case analysis of this study, I choose two contemporary choreographers, Mette Ingvartsen and Jeremy Wade. Ingvartsen’s <69 Position> deals with the performances related to nudity and focuses on the socio-cultural environment in which the search for the relationship between politics and sexuality is mainly carried out over time. Ingvartsen’s feminist approach consists of exploring the relationship between the sexed body and society, capital, and politics. Wade propose the role of art as a sustainable practice through curation covering the political performance of queer, women, and people with disabilities in the project called “Future Clinic for Critical Care(FCCC).” Wade’s queering strategy means discovering social problems with minorities and driving political mobilization on them.

In this paper, I approach the knowledge of choreography in a way differing from the knowledge built on the patriarchal history. This research suggests that feminism is expected to exist as a source of undiscovered identities and opens up new possibilities for research and creation.