The purpose of this study was to examine the concept of the dance literacy and its components along with the development process of and educational method for the dance literacy using qualitative methods. Six professional dance educators were selected using typical case selection (Miles & Huberman, 1994) and theoretical sampling (Strauss & Corbin, 1998). In-depth interviews were conducted, and the collected data were analyzed by inductive category analysis. The findings of this study are as the following. First, the concept of dance literacy (DL) is the accumulation of the knowledge and competences of understanding dancing and doing it, and the components of DL are dance knowledge and recognition skill (DL for practice), humanity knowledge and inquiry skill (DL for theory), and practical knowledge and conductive skill (DL for integration). Second, the development process of DL is categorized into implicit learning stage, selective perception stage, and spontaneous learning stage. Third, the development methods of DL are dance practice, research on dance theory, and learning through the community of practice. Based on the results, it will be helpful to promote the dance educators’ professionalism, make qualitative changes on dance education, and foster professional dance specialist.

The notational method for Baroque dances, created by Pierre Beauchamps in 1674 and published by Raoul-Auger Feuillet in 1700, was received exceptionally well and understood to be the best method to record Baroque dances during that time. However, it was not until the 1980’s that it was appreciated again, and enjoyed a renaissance. This paper focuses on the Baroque dances choreographed by Guillaume Louis Pécour. There are 539 Baroque existing dance notations and Pécour is recognized as the most productive choreographer in the Baroque era, making 49 dances for balls and 71 dances for theaters. One of his masterpieces, Entrée Espagnol pour un homme et une femme, is analyzed to show the characteristics of his choreography. Pécour’s most notable characteristics in his choreography of Entrée Espagnol pour un homme et une femme, from the Opera-Ballet L'Europe Gallant, was the intermixing of the difficult movements with the easy ones, and the soft movements with the strong ones. For the music, Pécour used a variety of methods and would use three beats in the first part, or in the second part. He utilized these atypical music and dance methods to choreograph technically difficult movements harmoniously. We emphasize the importance of the notation by reproducing the dance choreographed exactly as it was done 318 years ago and analyzing the characteristics of Pécour. Without the notation, we could never figure out how beautiful the Baroque dances were. We expect this paper to encourage further study of Baroque dances in Korea.

As a result of the spread of smart phone, the new communicational tool, SNS is used for diversity part of economy and culture. Among domestic dance compaies, SNS is used for marketing, communication tool for audience. This study aimed to research the domestic dance company’s SNS focusing on Facebook. For this Durpose, the research tools, acting respond indicators (‘Like’, ‘Share’, ‘reply’) were investigated and compared. As to know current state of the domestic dance company's SNS using, researcher could come up with apropriate SNS using tips for the future. In doing so, I selected 10 dance companies in a location of capital area and compared the kind of SNS and choosed 2 major dance companies that were good at SNS. Major research tool was SNS-Current Using State Investigation papers developed by the leading studies and the paper refered to domestic theses, books and academic journals, searching the internet. The suggestion of using the domestic dance company's SNS were as follows: First, the domestic dance company has to upload the latest news, involving beauty value that can give pleasure to Facebook users. And the quality of posting is important. Second, the domestic dance company's Facebook has to leads the Facebook users to reply or share their posting. Third, the domestic dance company's Facebook properly uses the funtion of uploading movies in Facebook.

The purpose of this study was to investigate an aspect of dancing transformation and its social meaning in the late Japanese occupation of Korea. Japanese had strengthened a war footing immediately after the Sino-Japanese War in 1937, and then they had controlled the daily lives of Korean people thoroughly by applying fascism to them. Regarding dancing, Japanese made Korean people be the actual new imperial citizens (Hwang-guk-sin-min) by calling it the national dancing, and Korean people couldn't help adapting to a new system of dancing. The new system of dancing was applied under the name of 'Emotional education for cheerful and rich life', but it was how to standardize Korean people. As for stage performing art, Japanese-oriented performances had appeared and there was A Song of Remembrance for Buyeo (Buyeohoisanggok) as a prominent performance. Buyeohoisanggok was created for 'Korea and Japan are One' policy by the Japanese Government General of Korea, National Total Chosun-Federation, and the Daehan-maeil-sinbo (newspaper), and it was a representative performance of propaganda. In addition, Japanese presumed upon Choi Seung-Hee's ability for Hwang-guk-sin-min and 'Korea and Japan are One' policy. In the early 1940s, she had advocated 'oriental dance' and created lots of performances under the influence of the Greater East Asia Co-Prosperity Sphere. Furthermore, she had donated profits came from performance to Japanese government under the name of contribution for nation, so she cooperated with Japanese half-willingly and half not. Akgeuk, which was the most closely related with the public, also accepted new changes through dance drama. The musical drama played a role of escapeway to forget the pain of the age for a little while through a peripheral stimuli. As the above, dancing in the late Japanese occupation of Korea had been transformed in sympathy with the stream of times.

In the second volume of the book Samguk Yusa (The History of Three Kingdoms), Cheoyong appears as a son of the Dragon King of the sea in an era of King Heongang of Silla. He got married to a beautiful wife from Silla. One day, as he came home late, he discovered that his wife was sleeping with a god of epidemic. Looking at the scene, Cheoyong chased away the god by singing and dancing. In this folk tale, the meaning of each characters is interpreted as follows: the god of epidemic means disease, his wife means a patient, and Cheoyong himself means a dance therapist. I approached Cheoyong Dance as an act that he defeated the god. In this paper, I would like to develop a new therapeutic Cheoyong Dance for promoting health by combining traditional Cheoyong Dance and Gigong Exercise. This will be the way to approach the public easily as another role of healthy Cheoyong Dance. The combining Cheoyong Dance with Gigong exercise will be the way of promoting healthy life and wellbeing.

Traditional art genres have been differentiated and developed as new types in a 21st century that is already accustomed to diversity. In particular, modern art was grafted to digital media to escape the negative limitations of the traditional class to enjoy something through an expansion into popular culture with de genre. As a result, the art world was able to determine how to promote this expansion, leading to a fusion and reinvention through “communication and integration” between genres. Recently, the attempt to develop a research-intensive genre has been progressing by grafting arts genres, differentiated under a paradigm called “The same starting point,” through exchanges and convergence. Particular attention has been given to grafting the characteristics of modern poetry to dance creation and performance in a fusion of literature and dance. This fusion can be divided into two types based on the intertextuality of the two genres. One is poetic dance, with the poetry-dance concept expressing poetic nature through dance, while the other is the dance scenario poem, with the dance-poem concept focusing on performing arts. Though the two concepts are not independent art genres, from the viewpoint of fusion and re-creation, they can be evaluated in terms of how they individualize dance’s deep poetic soul and poetry’s dynamic symbolism. The purpose of this study is to establish creative methods for poetic dance drama, with the essay focusing on creative process methods for three dance poems using a typed person with repose of souls through the symbolic images of Kokdugaksi Norum, which is a traditional drama, in convergence with the plot of ssitgimguk (a shaman ritual for cleaning a dead person’s soul), which is a folk ritual of sacrifice, and modern poetry. In Chapter 1, for the conceptual definition of poetic dance drama, the prior research on the intertextuality between poetry and dance will ber reviewed, while Chapter 2 will premise the creation of poetic dance drama, analyzing the story and character structure of “Lemuralia” in order to apply in earnest the relationship between a ritual of sacrifice and original art to creative activities. In Chapter 3, the essay will explore creative methods through the analysis of actual poetic dance drama. It aims to expand the arts in modern society by encompassing an emotional re-convergence with different arts genres from traditional society. In order to complete the poetic dance drama, Kokdugaksi Norum, conducted in this study, this researcher summarizes the creative methods of poetic dance drama mentioned above according to three points of view. The first is a mix between arts genres that borrow from Korean culture. The second coordinates poetic creation and the language arts within a process for broadening our understanding of the symbolic and dynamic movements of dance, body arts in terms of recognizing performing arts. The third fuses poetry with dance in combination with dynamic images to recognize the poetic soul and to identify the possibilities inherent in communication, individuality, and the convergence of arts genres in terms of creating community awareness that can be interpreted as an object of symbolic meaning.

Dance education research, like all research, can be either quantitative or qualitative. The purpose of this study is to discuss ontological and epistemological paradigms from a philosophical perspective, and analyze dance educational research in order to enhance the understanding of these conceptual paradigms, thereby contributing to proper development of dance education research. Epistemological paradigms seem to reasonably argue that our understanding of reality depends on our conceptual worlds, in truth reality is subjective rather than objective. However, certain pre-eminent features in physical objects and human behavior exist independently, limiting our explanations and understandings of reality. Therefore, considering the historicity of individuals and social groups, it is necessary to understand dance education through qualitative research. However, preeminent features in physical objects and human behavior constrain our understandings of educational realities. Such constraints make it possible for the researcher to derive generalized concepts of reality through quantitative research. The results of quantitative research put forward some uniqueness in dance education that must be analyzed through qualitative research. In this respect, it is false and misleading to dichotomize research paradigms as ontological and epistemological. Considering such positive interactions between quantitative and qualitative research, it is obvious that these research methodologies are complementary.

One modern dancer at the forefront of the art is SongBeom. Numerous studies have considered his life and work activities. However, an error exists, citing incorrect records. This research reconsiders the records of newspaper news organizations working on the agencies. SongBeom was established in the National Dance Company and played a major role in the 1962 writing style. Meanwhile, he demonstrated creative experimentation in Korean dance, helping to create a new framework. Paper records show that he entered the world of dance as an opportunity during a decisive time. He demonstrated endless enthusiasm for show. Not only can we check his newspaper records to clarify the title and year, we now can also consider his work and identify the notations. Performance on a performance advertising, unlike these days. Newspaper articles still contained some errors, but data are sound in terms of the work years. Even though he gross change in his microscopic, even if we approach Chuminsaeng can check the newspaper. It's a dance thing of a time of his activities through to become an opportunity to read the flow.

The purpose of this study is to consider implicit meanings with Panofsky’s iconographical methods. This research further seeks to objectively organize and understand a new dancer’s, (Kim Baek-Bong) intention to produce meanings and details in “Flow of Line.” Based on references, this study captured images necessary for an iconographical analysis of “Kim Baek-Bong’s Dance Performance” (on Nov. 29, 1989 at Sejong Center for the Performing Arts) and “New Dance, the Triple Layer Dance Scenes” (on March 25, 2013 at Yeak-dang of National Gugak Center). The researcher then drew the image of the line produced as the group danced in order to study the composition of Kim Baek-Bong’s “Flow of Line.” Analysis revealed that the group dance movements, formed by the dancers’ movements, was set to the ‘line’. This study also included an interview with Kim Baek-Bong, the choreographer of “Flow of Line” in order to understand the time setting and conditions of dance communities at the time of creation for “Flow of Line.” The ‘pre-iconographical description’ of “Flow of Line” was divided into the factual meanings and the expressional meanings. The former were the proscenium stage (stage), 16 female dancers (dancers), Kim Yoon Deok style Kayageum Sanjo music (music), unique movements of upper and lower body parts (movement), and white skirts and jackets (costume). The latter included a total of 41 compositions: 3 compositions from Jungmori beat, 23 compositions from Jungjungmori beat, and 15 compositions from Danmori beat. As mentioned above, in the 41 compositions, the iconographical analysis indicated that the united image was derived from sources of snow crystals, water drops, whirlpools, water drop wavelengths, moving waves, and waterfalls. They also showed images of tree rings, the sun and moon, flowers, ridges, whirlpools, silk threads from cocoons, water drop wavelengths, and other natural elements. This iconological analysis was divided into the original meanings of a nature-friendly world of art as well as circular images and the symbolic values of white-clad people and Korea’s ethnicity and unity. Thus, “Flow of Line” is the work with elegance, beauty, and contemplation about life resulting from Kim Baek-Bong’s love for nature. He created the circular images, yet Kim Baek-Bong’s “Flow of Line” is also meaningful to dance history as a new type of group dance combining Western dance styles and Korean traditional dance styles.

The purpose of this study was to investigate trends in male choreographers’ work in Korean dance, as demonstrated in “12 Korean Contemporary Dance Choreographers’ Showcase.” For this study, the researcher observed the showcase before collecting and organizing critiques about the showcases from dance magazines, such as 󰡔Auditorium󰡕, 󰡔Performance and Review󰡕, 󰡔Dance Forum󰡕, 󰡔MOMM󰡕, 󰡔Dance Korea󰡕, 󰡔Dance󰡕, and 󰡔Dance and People󰡕. These articles were collected from performance pamphlets and related news in the 1990s or earlier from the Internet News Libraries (newslibrary.naver.com). The researcher also interviewed and communicated via email with the choreographers who participated in the showcase. The interviews included questions about background information in creating the work, the focus of the dances, and their points of view. From 1987 to 2005, a total of 15 male choreographers in Korean dance participated in”12 Korean Contemporary Dance Choreographers’ Showcase,” composing a total of 26 performances. Gook Soo-Ho participated in the showcase eight times, including two repeat performances. As this showcase emphasized premieres, Jeong Jae-Man had three performances, Chae Sang-Mook had two performances, and Kim Yong-Cheol had two performances. The Other 11 choreographers had one performance each. The choreographers demonstrated various themes in “12 Korean Contemporary Dance Choreographers’ Showcase.” Performances with the themes of fraternity and love for family included “By the River in North Korea” by Gook Soo-Ho and “Share” by Kim Seung-Il. Performances with themes of nihil and samsara included “Empty Boat,” “Gook Soo Ho’s Bolero,” “Garden of God Ⅰ- Nought (無)”by Gook Soo-Ho and “Mind Purifying Music” by Chae Sang-Mook. “Dance in the Sky” by Jeong Jae-Man illustrated the pursuit of an ideal, whereas “Sound of Dried Wild Flowers” by Chae Sang-Mook and “Light Wind” by Kim Yoon-Soo tried to overcome reality. There were also themes of exorcism (ritual ceremony) for the repose of souls: “Meditation of Myeonam” by Gook Soo-Ho, “Fever” by Im Gwan-Gyu, “Like Butterflies” by Lee Hong-Jae, and “Black Exorcism” by Kim, Yong-Cheol. Finally, there were themes of discovery of the ego and self-training, including “Danya (Red Bellow)” by Kim Yong-Cheol, “Shadow” by Kim Jeong-Hak, “Sad Song” by Han Sang-Geun, “Ego” by Lee Gyeong-Soo, and “Far Away” by Kim Nam-Yong. Since 1987, male choreographers in Korean dance have demonstrated unique performances in “12 Korean Contemporary Dance Choreographers’ Showcase,” presenting dance performances with religious and philosophical speculation. Generally, they emphasize themes about human beings and the environment. There are fewer female choreographers in Korean dance than male choreographers. However, female choreographers also try to show their spirit based on their lifestyles and experiences. As choreographers in Korean dance, they adopted the division of Korea and the Korean environment as a theme rather than showing the uniqueness of Korean traditional dance movements in developing Korean contemporary dance techniques.