This study aims to investigate the activation plans of Korean cultural artists through the modern reception of performance art and to design a new conscious transition of traditional art into popular art. Today, the Seoul Performing Arts Company is a group representing Korean art with unprecedented experiments involving external and internal changes. This study examined the developmental plans of the Seoul Performing Arts Company and its comprehensive artwork, including singing, dancing, and music. The study employed Microsoft Excel, a data processing program, to summarize the list of performances by the Seoul Performing Arts Company and to analyze the three genres of singing, dancing, and music. In addition, the company performers were interviewed about the meanings of modern singing, dancing, and music. These study methods allowed investigation of the characteristics of traditional art genre with singing, dancing, and music as well as the direction and strategic aspects of comprehensive art. This analysis seeks to reorganize perceptions of traditional art as public art exceeding the boundaries of genres in the performance industry while continuing to create comprehensive Korean artwork containing a mutual communicative structure.

This study focuses on how to teach general dance education in university environments where a dance department does not exist, making it difficult for students to approach dance as an art. Within such a context, this research aimed to teach a general dance class in such a way as to improve students’ perceptions of dance as art. The research questions were as follows: First, what is the perception of general dance education for students who live in areas where people lack opportunities to experience dance as art? Second, what should be taught in a general dance education class in order to activate perceptions of dance as art? Third, what points could be improved in a general dance class in order to revitalize dance as art? This study followed an action research format, focusing on a real situation while seeking to understand the role of education. The participants were five male students taking a general dance class at a four-year system university located in Chungcheong province. In this context, it is difficult to offer various dances as art forms to students because the class runs semester by semester, making it difficult to meet all student requests in such a brief time. In addition, the university lacks any other dance classes, so students had no choice and could not compare with other classes. Therefore, the interviews completely focused on the researcher’s class, lacking comparisons with other classes. The study results indicate the following effective approaches to a general dance class. First, the class needs to include “dancing for physical exercise.” Second, the class needs to be “naturally experienced.” Third, the class needs to be “exciting and communicable.” These results emphasize that dance is not a “serious” class but offers comfortable and interesting learning to students. In addition, educators need to consider the students’ responses and develop teaching content and methods depending on the situation. Therefore, dance educators teaching general dance classes must consider various environments and students’ interests. Many action research studies on general dance education have been published, and people can continue to share their experiences in the future. Furthermore, we can expect increasing interest in dance as art.

There are 111 main conveniences that Korean dance has in common with history research areas. Both could be categorized as age, ryupa, kind, local, and life of five. This study analyzed Korean dance history in order to provide direction for the development of localized educational content. For this purpose, we redefined the needs and professional structure of the writers of Korean dance history around the cheotjae, or the contemporary Officer. The other purposes of this study were to ensure the clarity of the Korean dance category and to express the needs of the Korean council of dance-related institutions and organizations. Prior to the development of the orientation of the educational content, the universality, consistency, and originality of Korean dance would need to be combined. This would construct a systematic framework for the educational contents of the Korean traditional dance historical research.

The word ‘Convergence’ is one of the major key words in this age and it is used in many different fields and various ways. The purpose of this study is to verify the role of convergence in maximizing the artistic expression and to confirm the possibilities of convergence effects whether it can bring change and create new territory in dance field by analyzing Deborah Colker’s choreography , which best reflects convergence characteristics. This study examined Deborah Colker’s choreography , focusing on convergence by using Janet Adshed’s dance analysis methods. Debora Colker brought the huge vertical stage and it played the big role in . The dancers certainly exceed ordinary human limits with highly physical dance, bordering on acrobatics, sports and arts. These converging movements of acrobatics, sports and ballet and the vertical set formed a coherent whole. They interacted together so strong that it maximized the artistic expression and brought the possibility of a new vision of dance.

The current study seeks to provide and examine a new value classification of community dance. Community dance, based on dance education, is an act of interacting with others, discovering oneself anew, and gaining confidence through physical movement. It also represents communication based on social common denominators and restoring of interactions that were cut off by the advancement of information and communication technologies. Community dance in Korea is being utilized in various ways: it is an activity that laypersons engage in to get pleasure, be healed, interact with other people, and learn new things. Community dance may be put into the four following categories. First, ‘community dance as performance’ focuses on producing outputs with a sense of ‘community’ being together. It generates new meaning as members of the general public take part in stage performances. In addition, it has attained artistic value by expressing the zeitgeist of different times through interactions with various generations. ‘Community dance as performance’ is distinct in that it has popularized community dance, bringing professional choreographers close to laypersons who dance. It has also given an enhanced sense of completeness with its orientation as performance. Second, ‘community-centered community dance’ has shared the cultural identity of the community through dance and re-produced different communities. As a dance centered around the community for the people of the community, it can discover unique features of the community and tell stories of the people of the community. Third, ‘community dance for unspecified groups of people’ is one that anyone can Abstract 한국 커뮤니티 댄스의 새로운 가치 분류를 위한 시론 211 participate in. It provides opportunities for people of different generations to interact with one another. This category includes various community dances that are hitherto defined differently, and brings together like-minded communities through dance. Fourth, ‘community dance as dance education’ is part of dance education, and provides a space for people to dance together. It helps people to express themselves better, gain self-confidence, think creatively, and enjoy cultures and arts.

Dance archives help researchers not only to understand performances, but also to promote related studies. Recently, dance archives have been produced and managed in some performances, although organizations producing and managing dance archives are still limited. Studies on the values and utilization of dance archives have to be carried out to understand and utilize dance archives. This study compared archives－Seongdanhyangui and Sajikseo Uigwe－and performances－Yeongseongje (2015) and Sakjikdaeje (2014)－to study the values and utilization of dance archives. The paper demonstrated that the archives value and cultural resources have inherent value in dance archives; it also analyzed cases of using its values.

The purpose of this study is to develop interdisciplinary research between dance studies and big data analysis. To this end, the text mining technique, which extracts meaningful information from text, was adopted as the research methodology. In the process of text mining, original PDF texts on the themes of Chum/Muyong(dance), morphological analysis, user dictionary construction, and social network analysis were collected to extract significant named entities and clarify the relations between them. The outcomes of the process, which comprised the extracted text data (total 10,231 copies), a named entity classification table, and a network of named entities, were loaded into the big data analysis system under development. The findings of the study are as follows: First, there were 25 total morpheme types, with 24,691 words with a frequency of more than 100. From these, a second morphemic analysis of sentences containing words such as “Chum” (춤), “Mu” (무), and “dance” (댄스) was conducted. It was revealed that in parts of speech with a frequency of 10 or more, there were 3,057 nouns, 602 proper nouns, 352 verbs, 205 numbers, 135 adjectives, and 35 adverbs. Second, a user dictionary was developed in the form of a taxonomy with stratification between hyperonym and hyponyms. The dictionary contained 2,404 words, which were classified by theme, person, dance piece, genre, theory, function, element, and period. Third, social network analysis revealed that the terms “Muyong,” “Chum,” and “arts and culture” were closely interconnected at the heart of the network. In contrast, dance deviated somewhat from the center. “Dance” was the only word to be connected with the network of dance sports and jazz. This study is significant because it represents the first attempt to apply text mining to written records on dance. In addition, it could suggest ways to expand the use of big data analysis to dance studies. Based on the study, a big data analysis system that is specialized in dance was developed, and the contents will be updated continuously.

The purpose of this study was to examine the state of choreography education as part of musical dance education in music departments in the United States, France, and South Korea to spread awareness about the necessity of creative choreography education to expedite the revitalization of the inclusive functions of dance in musical departments. In the United States, not only the theoretical dance classes but also advanced practical dance courses (tap, jazz, ballet, and modern dance) necessary for musical education are offered in a systemized way. Furthermore, other courses give students who have taken the practical courses the opportunity to produce their own works through creative choreography. All of these courses enable students to exert their creativity. Similarly, many creative dance courses are offered in France along with theoretical courses, although few professional dance techniques are taught in musical dance classes in professional arts schools specializing in theater in comparison with the case of the United States. Students who take creative dance courses are given a lot of time to produce their own works in collaboration with other fields. Indeed, they are educated to be fully aware of the roles of dance in works. In musical dance classes in South Korean colleges, however, there are generally no further attempts to provide opportunities to experience dance in the repertoires of existing musical works. Indeed, current musical choreography education is neither systematic nor professional enough to teach students to come up with creative, inclusive ideas through experiencing a wide variety of dance genres. Fundamentally, the curriculums of the musical departments aim to nurture the professional human resources necessary for musical production; dance choreography education should be integrated into and strengthened in these curriculums to foster actors who are skilled at acting, singing, and dancing. In addition, more cooperative programs should be prepared to provide opportunities to produce works in collaboration with other fields. In this way, competent human resources will develop into musical directors or producers who are aware that choreography is no longer a supplementary part of musical education but should rather be developed along with acting and music. As this sort of education is expected to nurture capable choreographers who can create choreography with an excellent understanding of drama, dance choreography education seems to be mandatory for a musical curriculum.

The purpose of this study is to vigorously investigate international developments in Korean Dance by domestic private dance troupes. The study is based on the performance records of private international dance troupes from the early 2000s, troupes that were active since 1980. The Chang Mu Dance Company and the Didim Dance Company are among Korea’s leading performers and feature dancers who play a prominent role in the globalization of Korea by presenting performances that captivate audiences around the world. The recent Korean Wave may also trace its origins to the popularity of these dance troupes.

The purpose of this study is to examine Western works of art through a historical and archival point of view related to arts psychotherapy. The method of approaching visual works of art is based on essential attributes of art therapy history. The theoretical background is founded in publications and research papers relating to art history, arts philosophy, and expressive arts therapy. To examine contemporary Western works of art and artists, Pablo Picasso, Jackson Pollock, and Henri Matisse were selected for analysis and exploration of the origin of arts psychotherapy. For the purpose of discussing the conceptual foundation of dance therapy, the characteristics of Western works of art and artists were examined, resulting in the following findings. First, the characteristics of Pablo Picasso’s “Three Dancers” include free-form expression, destruction of form, and bodily expression of subjective emotions arising from an inner world. In particular, “Three Dancers” exhibits Symbolism, which is one of the main elements of dance/movement therapy. Second, the characteristics of Jackson Pollock’s “Mural” and “Rhythmical Dance” represent Shamanism and strong Body Action, both from the artifacts and the process of creating them. Lastly, Henri Matisse’s “Dance the Second” and “Two Dancers” show a simple and strong color composition which emphasizes the harmony of nature, humans, and the power of Rhythmic group activity, also a main concept of dance therapy. As a result of the analysis, these three important Western artists and works of art are seen to demonstrate meaningful perspectives and theoretical foundations of dance therapy. Indeed, their works of art could be considered valuable documents of dance therapy history. This study is limited by its focus on only a few selected artists and works of art. A larger, follow-up study is needed to rule out over-generalization. Second, interpretation may be limited by the subjectivity of the author. For this reason, the author included a number of references to support the study’s point of view.