This study aims to explore the ecosystem of artists that has undergone change since Covid-19. Through the lenses of ‘common’ and ‘individual,’ and the methods of artistic practice of labor in creation, this paper propose the concepts of post-choreography. Since the 1990s, the practice of choreography has been reimagined based on the issues surrounding the interdependency of the individual and the common, vulnerable subjects, networks and collaboration, which were debated during the post-Cold War era. I discuss post-choreography from the perspectives of ecology, solidarity, and ethics and examine an artistic project titled “Entanglement Residency.” From a socio-ecological perspective, the study argues that post-choreography serves as a tool to restore a community of common sense and affect.

This study investigates the historical roots of the "Toad Dance" that emerged in Dongnae, Busan and documents its music, costumes, and major movements. From the perspective of resonance aesthetics, this study focuses on the Toad Dance performed by Kim, Hee-sang (1924-1995) at the Small Theater of the National Theater of Korea on June 22, 1984. Based on data collected from an interview with Kim, Onkyeong (1938-), the study reveals that the main performance space for the Toad Dance was Gibang (an indoor entertainment space). Kim also disclosed that the Toad Dance was performed by a male-female couple in the Gibang, but by one person in the outdoor space. Through analysis of newspaper articles on multiple performances of the Toad Dance from 1984-1998, as well as video and archival sources of the Toad dances documented by Park, Jinju (1936-1986), the study articulates the following characteristics of the Toad Dance: 1) The dance movements of the Toad Dance are generated based on improvisation; 2) The performance spaces for the Toad Dance include both outdoor and indoor areas; and 3) The Toad Dance symbolizes 'play' and 'origin', represents unique mimic costumes, and utilizes the breathing method based on the Dongnae Deotbaegi rhythm.

The purpose of this paper is to explore the relationship between Bak Geum-seul's "Chumdongjak" movement principles and Somatics. It is also to examine the movement principles of Bak Geum-seul’s "Chumdongjak" in relation to the theory of the Five-Elements: Wood, Fire, Earth, Metal, and Water. Through the embodied experience in Bak Geum-seul's basic dance moves, the results of the study are as follows: First, one of Bak Geum-seul's movement principles is to enable a dancer to recognize and be aware of their body, which is similar to a principle of somatics that focuses on body awareness. Second, Bak Geum-seul's ‘upper body’ movements can be represented as Wood and Fire. Bak Geum-seul’s ‘middle body’ movements can be described as Earth while her ‘lower body’ movements can be symbolized as Metal and Water according to the theory of the Five Elements. The study suggests what happens inside of our bodies can be signaled through emotions. I hope that this study, which emphasizes the importance of expressing internal emotions through dance, may promote a healthy and harmonious lifestyle.

The purpose of this study is to analyze the dance structures of Seoul Intangible Cultural Property Hallyangmu, performed by different successors of the dance. The study utilizes the literature research method to examine the origins and the structural characteristics of Hallyangmu by the successors. The research incorporated the personalities and viewpoints of each successor of this dance. The results of the study have been derived from the analysis of the following four aspects: 1) the characteristics of each role played in the dance based on the narrative, 2) the names of each role’s dance movements, 3) the costumes and props used in the dance, and 4) the rhythm structure in music used for the dance. I hope that this study will contribute to re-recognizing the value of Hallyangmu as a traditional dance and further develop Korean traditional dance.

The purpose of this study is to examine the aesthetics inherent in Lee Eun-joo’s Sanjo dance, Geumseonmu. The study utilizes literature research and participatory observation methods, including in-depth interviews, oral records, and embodiment. The results of this study are as follows, First, Geumseonmu is a work that combines mind and body, which is a typical characteristic of Sanjo dance. Second, it has inherent feminist tendencies. Third, it is a traditional dance that makes good use of Korean elements. Fourth, it stands out for its artistry through the combination of various art forms. In metaphorical terms, Lee Eun-joo's Sanjo dance, Geumseonmu can be interpreted as a painting that emphasizes lines and empty space, a technique found in traditional Asian paintings. Significantly, her Sanjo dance expresses the factual aspects of external objects and the inner beauty of eternal life through dance.

Through a case analysis of small business CEOs who have accumulated social stress as a result of the pandemic of COVID-19 and participated in a dance movement therapy program, this study analyzes and reconstructs Korean dance movements in order to develop a dance movement therapy program and presents its effects. This program incorporates meditation and breathing exercises based on Oriental philosophy. In particular, the study examined the development process and results of the program in order to expand its scope and apply it to stress, menopausal disorders, depression, and anxiety that are common among the general population.

Firstly, we found that gender neutralizing the feminine dance movements would make male participants more comfortable participating in the program. In addition, the dance movement treatment program using Korean dance movements was found to be an effective alternative complementary therapy for relaxing muscles and solving physical and psychological issues. Moreover, the Korean dance-based movement therapy program, which employs movements and sensibilities that are best suited to Koreans, can further improve the health and well-being of Koreans.

This paper examines the formation and structure of dance music and the relationship between dance and music in order to better understand Kim Chi-hong's style of the twelve-forms Janggo dance. Literature review and oral history research are employed as research methods, and the musical characteristics of sound sources and videos are analyzed using a characteristic decomposition method. The results of the study can be summarized in three points. First, this article revealed that the music of the dance was a Seodo folk song written at the end of the nineteenth and beginning of the twentieth centuries. There is a greater possibility of the twelve-forms Janggo dance and its music interacting during the period. Second, the rhythm of the twelve-forms Janggo dance changes from Jungmori (♩ =65), to Gutgeori (♩ =40), and then to Jajinmori (♩ =70-95) rhythm. Third, music was transmitted along with dance. The process of transferring the twelve-forms Janggo dance is closely related to lyrics, the melody, and the rhythm of “Ginnanbongga”, “Cheongchunga”, and “Hangang-soo taryeong”. This research is important because it indicates that the musical structure and formation of this dance contributed to the transmission and creation of the dance itself.

This study examines Susan Leigh Foster's methodology of historiography and explores its significance, which was introduced to Korea in the early 2000s. Even though her theory is rooted in post-structuralist thinking, no research has been conducted on its philosophical implications. Foster emphasizes the methodology of historiography, but there are few examples of its actual application in dance history. This researcher tries to understand the logic underlying her theory of historiography by analyzing the philosophical concepts contained in Foster's Choreographing History. We examined how Foster incorporated the main concepts and characteristics of post-structuralist thinking into her historiography, and in what philosophical context her concept of the body emerged. The analysis of Choreographing History illustrates how the theories of humanities can be integrated into dance research to develop a new discourse. Moreover, various practical studies can be conducted based on her theory, which mainly focuses on methodologies. Foster's new body concept is also a very interesting topic in dance studies. Practicing bodies with agency can greatly expand their horizons and possibilities and can be a rich source of dance research. This study is intended to lay the foundation for future research in this area.

Maru refers to a basic paragraph in Korean traditional dance, which can be long or short, depending on the performance conditions or the environment. This research aims to determine if there is a paragraph corresponding to Maru in court dance based on the previous study of Han Yeongsuk's Buddhist dance and Mokjung Dance of Bongsan Mask Dance. To this end, Cheoyongmu and Chunaengjeon, representative dances of Hyangakjeongjae, are studied in this paper. Furthermore, the paragraph that was classified by the Jipbagaksa hitting "Bak" was collectively referred to as "Bak paragraph" and the previous methodology on analyzing Maru was applied. As a result of this study, the following results have been obtained. First, the elements that make up "Bak paragraph" of court dance and Maru of traditional dance are lexical chumsawi. Both show similarities in meaning, type, and composition. The court martial arts series, however, shows independence of form and meaning through a simpler and more stable pattern. Furthermore, "Bak paragraph" and the Maru of traditional dance convey a certain message despite slight differences in their compositions. In addition, Maru refers to the phrase of court music as well as the instrumental music of Pungryubang, a chorus or refrain of a folk song. Therefore, "Bak paragraph" and Maru reflect the characteristics of court dance. Also, "Back paragraph" that contains specificity can be considered to represent Maru in a comprehensive sense.

The purpose of the study is to analyze the traditional cultural values of Li-ping Yang’s Dynamic Yunnan from artistic, social and economic aspects. Based on literature review and video analysis of dance and movement and its cultural context, the aesthetic characteristics of Dynamic Yunnan were identified. First, its artistic value lies in the original form derived from the unique vitality of the traditional dance of the minority nationality. Second, it was made to regard national culture ideologically as a social value. Third, in terms of economic value, the tourism industry in the Yunnan region has grown by using the dance as a resource to create economic value through its artistic content and aesthetic forms. It reminded the public of how traditional dances can be preserved and developed by combining these traditional dances of Chinese minorities with modern stages. Furthermore, it illustrates the significance and validity of entering the market for dance art works by presenting representative examples of the development of the cultural industry.