The purpose of this study is to identify expressive characteristics by examining the choreographic intention and movement meaning of the scarf-dance part in the Kim Baik-bong Sanjo Dance “Cheongmyeong Shimsu”. The study utilizes literature research and participatory observation methods, including in-depth interviews and embodiment. The analysis criteria on the relationship between the dancer and the scarf were based on movement emphasizing technical aspects and movements focusing on emotional exchange. The expressive characteristics of movements can be organized into 12 categories such as “mother's love,” “life's solid experience,” “life's reincarnation,” and “deep and full sadness.” In “Cheongmyeong Shimsu”, the scarf is not just a prop but contains the choreographer's philosophy and ideals. It also conveys emotions effectively, which helps the theme of dance be delivered clearly. “Cheongmyeong Shimsu” is the work that represents Kim Baik-bong's dance language that is self-reflective; it is also healing.

This study aims to study characteristics of Yi Maebang’s Honam Sword Dance. Literature research, image analysis, and the researcher’s own experience of the dance were used as research methods in this study. Through the investigation of Yi Maebang and his Honam Sword Dance components, the characteristics of Yi Maebang’s Honam Sword Dance can be classified into three categories. The first characteristic of Yi Maebang’s Honam Sword Dance is related to breathing circulation. This cycle of breathing appears in the harmony of yin and yang through the flow of Daesam and Sosam and in the movements of Jeong, Jung, and Dong. The second characteristic of his Honam Sword Dance is an aesthetic expressed through the dance’s tendency and form. In other words, the aesthetic of his dance is based on femininity and naturalness created by curved and circular movements. The third characteristic is the harmony of time and space, which can be found in the formation of “Gasaemulrigi.”

The purpose of this study is to explore the common Korean characteristics in the works of choreographers who were active in the same era as choreographer Juri, of “Blue Dopo” This paper is a literature study, and the results are as follows. First, from 1955 to 1970 the influence of the Korean War and the military regime, encouraged a search for Korean culture, promoting choregraphers to produce work related to Korea. In addition, since the National Dance Company was the only “national” dance organization, it is believed that choreographers internalized the cultural reforms of the government and projected Korean characteristics into their works. Second, the core theme of “Blue Dopo”which was created by Juri adapting the Spanish folk tale “Triangle Hat,” is based on orean folktales, poems, folk paintings, and legends. Therefore the costumes combine hanbok and ballet tights, the music is Korean and Western, and both Korean dance and Western movement is combined. It is meaningful in modern art history to re-examine Juri’s addition of Korean ethnic characteristics to Western themes as she was the iinfluential first female choreographer and founding member of the National Dance Company.

Nine Songs is one of Lin Hwai-min’s most important works. As one of the features of Nine Songs, it combines traditional Chinese culture with western modern dance techniques and accepts the way of thinking of modern dance to create a fusion of traditional Chinese culture. In this study, the work Nine Songs serves as the research object, and various perspectives are used to analyze the cultural background and the fusion of East and West in this work. In addition to serving as a valuable reference for the study of the fusion of traditional dance with modern one in East Asia, this research is of great significance in expressing the aesthetic fusion of Chinese and Western dance in order to promote modern dance development.

This study aims to articulate how the social background and environment of liberalism and exoticism in the fin de siècle affected the expression of movement, analyzing the work of Isadora Duncan and Ruth St. Denis. For this, First of all, the works the two choreographers’ developed during their peak years, between 1900 and 1920, has been reviewed through the lens of previous research. Second, a fresh look was taken at each choreographer’s solo work that has significant movement characteristics, and two experts working abroad recommended three major works each. Finally, the movement of six works was analyzed by video. The recommended works are as follows: For Duncan, Water Study, The Blue Danube Waltz and Dance of Furies and, for Denis, Incense, A Javanese Court Dancer and White Jade were chosen. Six categories including theme, significant body part, line of movement, locomotion (level change/path), music and mood were used to analyze movement. Following the analysis, significant movements of Duncan preferred rounded arm lines, utilizing integrated movements. This created a challenging and intense mood along a circular path. She expressed the inner self that appears in liberalism, influenced by individualism and her own thoughts that followed the order of nature-Greek-women’s liberation. On the other hand, Denis preferred angular-lines with a variety of hand gestures, using isolated movement, and walked calmy by grounding her feet from heel to toe while straightening the upper body. She made a solemn and serious mood along a linear path. As Denis was facing a new era, she became interested in exoticism and grafted her art onto oriental thoughts. She expressed the gods through herself rather than showing her individual tendencies. In conclusion, these movements’ characteristics of the two choreographers grafted liberalism and exoticism together. Duncan elevated liberalism into her choreographies while expressing nature-including ocean waves-and the comfortable costumes of ancient Greece. But Denis pursued a new style of choreography with more symbolic movements, utilizing various images of oriental and Asian gods. These are the major differences between Duncan and Denis. Their attempts were the predecessor to American modern dance.

This paper investigated the characteristics of guna, which are ritual actions to dispel epidemics, by analyzing the structure of formative meaning and circulation in palmokjungchum (the dance of eight mokjung), the second chapter of Korea’s traditional Bongsan mask dance. Figures in this research depict images of a dance performance that took place on May 31, 1992, which were provided by the Society for Preserving Bongsan Mask Dance. The second chapter of the dance was divided into three structural stages: an appearance of the first mokjung, the one-to-one entrance and exit of the eight mokjung, and the circulating structure of the rotating dance. The findings are as follows. First, the choreography of the first mokjung was incremental, representing the qualities of wood (木), which is one of the five primary elements. The dance during this stage embodies birth and growth through the union of yin and yang and emulates this natural phenomenon. Just as circulation is found in nature, epidemics retreat on their own accord during the ritual of guna. Second, the characteristics of guna are depicted by the one-to-one entrance and exit of the mokjung and by repetition of the same choreography. The entrances and exits are repeated, signifying the circulating relationship of yin and yang. The yin-yang juxtaposition of the mokjung is depicted by different characters, who go back and forth between confrontation and union. This alternation is indicative off the presence of circulation in nature, where time is continuously pushed back and replaced by subsequent time. This concept is represented by the character of guna, who dispels epidemics. Third, the number eight is the number of divination, and when laid out in circular forms, it illustrates the principle of circulation. The beginning and end of the line forms a circle, and the dance by the palmokjung incorporates continuous rotational moves (juibusi) that are reminiscent of the nature-emulating circulation observed in the Cheoyongmu (the dance of Cheoyong). The two dances share epidemic-dispelling characteristics. This indicates that in the second chapter of the Bongsan mask dance, nature’s circulation is a key motive for the choreography, which reveals the righteousness and confidence of nature, unbiased by any of the four seasons. Like nature, epidemics have a structure in which the old is inevitably replaced by the new. The primary characteristic of guna relates to how epidemics retreat from confrontation, where two opposing forces are not able to overcome the other, which is based on the principle of harmonious existence between yin and yang. The objectives of this study were to provide a more insightful understanding of the unique ideas and beliefs inherent in Korea’s traditional Bongsan mask dance and to provide a foundation for more diversified perspectives in the study and understanding of traditional Korean culture.

This study focused on the fact that both dance and calligraphy have a common formal concept with harmony, balance, and rhythmical beauty as the long-standing traditional forms of art in the Eastern world. First, the study examined the relationship between dance and calligraphy by looking at old literature and successfully identified the common ‘formal concept of beauty’ they shared. During the process of understanding calligraphy, the study noticed that the emotions which occurred while moving the brush were not much different from the emotions that arose when the dancer moved their body to express a certain movement. It was found that the contents and the emotions that occurred during the creation phase of dancing and calligraphy were almost identical. Instead, the sole difference was that calligraphy used the movement of the brush, while dancing utilized the movement of the body and the eyes. This suggested that dance and calligraphy shared the concept of beauty of ‘form, harmony, and control.’ With this result, the study suggested that the art of calligraphy and dancing had a possibility to be performed together in various ways under harmony by creating an environment that allowed artistic cooperation.