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 aims to address the issues of dance and national borders focusing on the impact of political and ideological border movements on art and culture. First, I examine the concepts of deterritorialization and reterritorialization and discuss their implications on art and culture. Next, I review the case of German Reunification, to draw parallels with its experience with division and reunification to Korean dance history. Here, I explore the historiography of East German art that faded due to the predominance of the West after reunification. I suggest that it is important to ask questions about the foundation on which I stand in order not to otherize myself and others. A balanced perspective shall be sought to embrace the complexity of personal history that an official narrative may miss. I finally propose to have a broad view that goes beyond not only the borders of division but also the borders of unification.

This paper presents an experimental discussion that examines previous literature and controversial discourses on dance history of Korea in order to suggest new ways of writing dance history. The dance history texts of the premodern time of dance history are mainly written by An Hwak, Kim Jaecheol, and Seong Gyeongrin after the Japanese rule. Most of these texts are restricted to introduce court dances in the literature due to the limited number of surviving materials. I suggest that dance history of premodern Korea would be discussed with more variety and depth if social and cultural perspectives are adopted. There are various discussions developed about the descriptions of modern dance history, however there is room for improvement in regards to the poor perceptions of the independent starting point of modern times and the concept of modernity. If the descriptions of dance history in Korea achieve expandability by embracing different genres and various literary methodologies as well as syntactic descriptions, the scope of awareness will broaden further for dance studies.