The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

Korean Fan Dance is the most favored dance by the entire nation, however, it would be astonishing to explain that this dance's history has been less than 100 years old. Korean Fan Dance, which appeared around 100 years ago, was coincidentally performed by two Shinmuyong (New Dance appeared at the beginning of the 20th century) dancers, Seung-hee Choi(1911-1967) and Baek-bong Kim(1927-) in the same period, and recently Geum-do Jang(1928-2019), a former gisaeng (female entertainer) of Sohwa Gwonbeon (Gisaeng School) in Gunsan area, was also known to have performed a fan dance. I had a curiosity about the fact that the three people had different fan dances. I also realized that our knowledge of Korean Fan Dance might have been scattered. Thus, I attempted to research the history of different Korean fan dances while examined the published materials. As a result, Seung-hee Choi's fan dance changed several times and developed without a certain framework in terms of the function and background of the dance. On the contrary, the fan dance of Baek-bong Kim's movements were formalized and handed down so far without any significant changes until the first presentation. Geum-do Jang's fan dance started as a formalized group dance after learning from Gwonbeon, but later she performed it as a solo dance. After the Korean Liberation, Jang's fan dance lost its venue due to the disappearance of Gwonbeon. Meanwhile, the fan dance of Korean Minority in Chinese was influenced by Seung-hee Choi and the gisaeng, but it was widely changed and interpreted upon topics and expressions.

Since the rise of ‘dance studies’ as an academic discipline in Anglo-American dance scholarship in the late 1980s and 1990s, interdisciplinary methodologies borrowed from cultural studies have been dominating the field, generating valuable research that places central focus on the role and value of dance and/or dancing/moving bodies in ways that transcend and traverse the disciplinary boundaries between sociology, politics, and aesthetics. In more recent years, however, such theoretical interdisciplinarity itself has, to some extent, become a burden for dance scholarship, at times distracting researchers from focusing on the core concepts, viz. dance and the body, and at the cost of a balanced adoption of interdisciplinary and medium-specific methods. Accordingly, this paper focuses explicitly on these concepts, selecting three key studies on the themes of dance and the body–in particular, the works of Janet Lansdale, Susan Leigh Foster and Body-Mind Centering®(BMC)–to reveal how each exhibits different yet somehow interlinked interpretations of dance and dancing/moving bodies. To this end, the paper examines three key concepts: (1) Lansdale’s understanding of ‘dance’ as a performance piece; (2) Foster’s concept of ‘dancing’ and ‘dancing bodies’ as a performing act involving active agency; and (3) BMC’s idea of ‘mindfully moving bodies’, which highlights the interconnectedness of and interactions between body and mind. Through comparative evaluation, the paper demonstrates the distinct ways in which each discourse perceives dance and the body in relation to processes of thought and mind, revealing how dance and/or the body play an active role in shaping discursive thought, socially contingent knowledge, and human wisdom. In doing so, the paper reveals the diverse forms of knowledge that dance and the body bring out, in the process highlighting the enduring effort (intentional or unintentional) to construct renewed discourses and disciplines that challenge the long-standing western dichotomy between body and mind.

The aim of this research is to understand the dancing culture of the Joseon Dynasty period(1392～1910) by examining dancing pictures in multi-level. The objects of the analysis are 22 pictures of dancing in royal space, 37 pictures if one counts copies and different editions. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically speaking, the pictures of dancing in royal space had been drawn from Jungjong(1488～1544, r.1506~1544) to Gojong(1852~1919, r.1863~1907) in Joseon Dynasty. In terms of space, royal palace is the space where the royal family and officials enjoyed dancing. In terms of audience-performer, there are only male audiences in dancing pictures from Jungjong to Yeongjo(1694~1776, r.1724~1776) but female audiences appear from Jeongjo(1572~1800, r.1776~1800). The performers in the dancing pictures are various like female dancers entertainer called as ginyeo, boy dancers called as mudong, cheoyong dancers, and even officials. In later times, the dancing ginyeo becames noticeable. It has been proven by the pictures of dancing officials that the officials were dancing in the party with a king. In terms of the way of drawing dancing, it has been started from Jeongjo that multiple jeongjae appear in one scene as if they are performed simultaneously. In Soonjo(1790~1834, r.1800~1834), dance painting accurately reflected the performance. All the dances performed were pictured. Gradually, however, during the Korean Empire, only some of the dances performed were painted. Popular dance was drawn frequently. I suggest that the importance of dance in record pictures of royal space is directly proportional to the importance of dance in real culture.

This study focuses on Deotbaegi dance in Gyeongsang Province, in searching of geographical dance characteristics and folk feast context. Gyeongsang Deotbaegi has been passed down mainly in four contexts: 1) Deotbaegi in mask dance drama is related to forms of the National Important Intangible Cultural Heritage, such as Ogwangdae (Five clown mask dance drama) and Deulnoleum (Field paly). 2) Deotbaetgi in Jisinbapgi (Dance for the god of the earth), 3) Deotbaegi in field play of Dure (Farmers’ cooperative group), and 4) Deotbaegi at the village festivals. The summary of this study is as follows. First, Deotbaegi in mask dance drama is passed down successfully and it has been spread all over the Gyeongsang Province area. Second, unique motions of Deotbaegi in Jisinbapgi are vanished but only a few simple steps are remained. Third, Deotbaegi in Dure field paly is disappeared in modern times. Forth, Deotbaegi at the village festivals can be seen only at nursing homes and senior citizen centers.

This study aims to examine the aesthetic resonance principle of Korean dance by analyzing how the place of Korean dance in the Middle Ages was influenced by the effect of dance through the ‘ki (氣, energy)’ theory by philosopher Choi Han-gi (1803~1879). As a research method, records related to dance were selected from historical literature, and Choi Han-gi's books were used as main texts, and related discourses were referenced. The original texts of the old documents used online databases with major old documents such as the National History Compilation Committee database, and keywords were limited to ‘mu (巫, shaman)’, ‘mu (舞, dance)’, and ‘chum (춤, dance)’. The results of the study are as follows. First, Korean dance was organically adapted to the spacetime of traditional society. Second, it was confirmed that the space of life was entangled as a place of dance in the traditional society. Third, it was possible to aesthetically explain that the principle of resonance in a special space called “sai (사이, between)” among dance places in traditional society was in ‘communication’. The main keywords of this study ―placeness, resonance, singi (神氣, primal energy), communication― are concepts that share the meanings of resonance as the nature of dance. The keywords are expected to contribute a academic and practical direction for today's dance theory.

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 inquires into the name of the Dutbeki dance Ulsan folk people’s traditional dance. This study investigates the meaning of the name of “Dutbeki,” various Dutbaki plays that were fused into other folk dances, and finally the independently transferred Dutbeki play itself. The prior literatures and the process officially confirm the name of ‘Dutbeki’. In 2016, the Ulsan Metropolitan City conducted a complete survey of intangible cultural heritages and officially recognized the Dutbeki of the region as “Ulsan Dutbeki”. This was based on the relevant regulation of the Intangible Cultural Heritage Survey of Ulsan Metropolitan City that formally confirmed the name as “Ulsan Dutbeki”. In this study the name is suggested as the “Ulsan Dutbeki Chum” to honor the tradition of the dance naming. This contributes to establish the foundation for preserving intangible cultural heritages and inheriting traditional culture in Ulsan Metropolitan City.

Sanjo dance is a dance that was created with the origin of Sanjo music. Sanjo Dance was performed firstly in 1942 by Choi Seung-hee. From the 1950s to the 1970s Sinmuyoung (新舞踊, New Dance) dancers had presented the Sanjo dances. In the 1980s and around, the Sanjo dance did not draw much attention from the entire dance industry. From the 1990s to the present, the first Sanjo Dance was re-examined, and dancers newly presented various Sanjo dances. To summarize the aspects of Sanjo dance, first the Sinmuyoung dancers began to create it, and a number of the new dance-style Sanjo dances were created. In the 2000s, it has also been made in the traditional dance field. Second, after using Gayageum Sanjo by dancers, the musical instruments became more diversified, including the iron gayageum, geomungo, and haegeum, and the Sinawi format was also tried. Third, the Sanjo dance has various sub-titles, which reflect a certain motif or sense of subject matter of creation. However, Sanjo dances in the context of traditional dance tend to form a dance in the composition and flow of Sanjo music. Fourth, you can see creativity, improvisation and diversity in Sanjo dance. Creativity and improvisation are characteristics of Sanjo music, which gave rise to the diversity of Sanjo dance. The Sanjo dances developed in this flow can be divided into three contexts. These are the Sinmuyoung style, the traditional dance style, the mix of Sinmuyoung and traditional dance style.

The aim of this research is to understand the dance culture in the government office space of the Joseon Dynasty (1392 ~ 1910). The objects of the analysis are 32 pictures of dancing in local government office space. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically, pictures of dancing in local government space appeared from 1580 to 1796, geographically from Pyeongando to Jeju Island. Most of the dance genres shown in the pictures were jeongjae. The performers in the pictures of dancing included female dancing entertainers called as ginyeo, boy dancers called as mudong, cheoyong dancers, and clowns also. Furthermore, the pictures revealed that a government officer and old men invited at the banquet danced together in the local government office space. This was because dancing was recognized as something wonderful that only a peaceful time allowed. In the Joseon Dynasty, the government office space was the place where people could enjoy dancing.