This research attempted to clarify trends of Korean dances during the 1960s by analyzing dance video data from the National Gugak Center’s Garfias Collection. The Garfias Collection is an archive of Korean performing arts that was donated by American music anthropologist Robert Garfias in 2019. In 1966, Garfias stayed in Korea for several months and recorded Korean traditional performing arts through photographs and videos. In this collection, there are 14 video clips of Korean dances of the 1960s, which can be classified into three sections: court dance, Buddhist dance, and folk dance. Various literature surveys and expert interview were conducted to investigate the background and activity status of the performers at the time, as well as the costumes, dance movements and the composition patterns of each dance. In the case of court dance, they were performed before systematic restoration based on literature had been carried out, and it was found that the progress was faster and contained more creative elements than the current one. In Buddhist dance, it has proceeded almost identically to what is currently being performed, but it can be said that the pace of progression is faster and the individuality of the dancer stands out. Finally, in folk dance, it provided an opportunity to gain a new perspective on the formation of traditional dance since the video showed a very different aspect from the dance that is currently being transmitted.

The Korean-Chinese Janggo dance is a symbolic national art of the Korean-Chinese and a symbol of the Korean-Chinese culture. This study aims to research how Korean traditional culture, Janggo dance, developed and settled into the Korean-Chinese Janggo dance in China. To this end, we examine the changes of the Korean-Chinese Janggo dance by period and the characteristics of its choreography for the succession and development of the Korean-Chinese culture. First, the Korean-Chinese dancers pursued the development of national dance for succession and development of their culture, and also they attempted projects to discover, organize, and recreate the Korean-Chinese dance based on different perspective and ideas from China. Second, the Korean-Chinese Janggo dance has developed, reflecting the changes and development of The Korean-Chinese Janggo dance by period. Third, the artistic feature of the Korean-Chinese Janggo dance emphasizes the beauty of the dancer's body and expresses the harmony of the dancer's gestures as well as expressions with the Janggo dance and music. We hope that this paper would devote itself to the development of the Korean-Chinese Janggo dance and be used as a basis for future research.

This study investigated the confluence and transformation perspectives of Hakmu-Yeonhwadae (鶴舞-蓮花臺, Crane Dance-Lotus Flower Dance) by taking a new perspective. The researcher analyzed the contents of the literature by searching for existing papers and historical data such as Uigwe (儀軌, Official Documents of Royal Events), Jeongjaemudoholgi (呈才舞蹈笏記, Choreography of Court Dance), and the iconography of historical pictures of royal events. The main results are as follows. First, Hakmu (鶴舞, Crane Dance) combined with Yeonhwadae (蓮花臺, Lotus Flower Dance) turned out to be performed in a way that directed two younger girl dancers to appear from two Lotus boxes in the texts of Gyobang-gayo (敎坊歌謠, Gyobang Song) and Hak-Yeonhwadae-Cheoyongmu-Hapseol (鶴蓮花臺處容舞合設, Convergence of Crane, Lotus Flower and Cheoyong[a man for preventing epidemics] Dance). Second, it was confirmed that the creative transformation patterns were historically revealed along with attempting to attune slight differentiations of Hakmu-Yeonhwadae. Third, Hakmu and Yeonhwadae had been performed separately and consecutively at royal court banquets since 1877 after King Jeongjo’s reign. Fourth, it was noted that there were several changes in the Jidangpan (池塘板, plate with artificial pond) and Lotus boxes in the late Joseon Dynasty. Fifth, the converged parts between Hakmu and Yeonhwadae were reinterpreted considering the symbolic and ecological meanings of cranes and lotuses from the modern perspectives for creating a new dance version.

This study aims to examine dance exhibitions as a way of putting the dance archival theory into practice. For this, I explore performance theories which are relevant to a dance archive and look into two dance exhibitions, Judson Dance Theater: The Work Is Never Done by MoMA and Known Future by SeMA, which reflect the new performance archival theories. These exhibitions have three features. First, the present is one of vital matters in the exhibition. Second, tangible and intangible archive are acceptable. Third, visitor’s action is a part of exhibition. These features show a dance exhibition can be a way of putting the dance archival theory into practice. In addition, these two exhibitions show that a dance exhibition is an effective way to hand down a valuable dance to next generation, because less time and space constraints than a performance can make more people have diverse experience about dance. I suggest that a dance exhibition is a good way of putting dance archival theory into practice.

This study analyzes the research trends of seven Korean traditional dances designated as national intangible cultural heritages that are given social values and cultural symbolism as a historical heritage of the country. Research papers were collected by using the seven dances as the search keyword and analyzed through text mining methods. These collected papers investigated frequency analysis, entity name recognition, connection centrality, and N-gram, focusing on their titles and publication years. For the final analysis, 1,043 articles published in academic journals and 1,065 thesis and dissertations in RISS were used.

As a result of the analysis, there is a large difference in the number of papers, depending on what genre an intangible heritage belongs to. It can be also found that research on traditional dances has gradually decreased. Many studies have shown the tendency to concentrate on the interpretation, preservation, and transmission of traditional dances. In the meantime, more studies are being conducted to develop or popularize Korean traditional dances as educational programs and contents.

The purpose of this article is to investigate the dance practiced in private spaces during the Joseon dynasty by analyzing paintings and literature. This study is the third part of a series of research exploring paintings depicting dances in various performance venues in the Joseon dynasty. While the first two researches were about dances performed in royal palaces and in public places respectively, this article analyzes paintings and literature of dances in private spaces in the following three ways.

First, dances performed in the personal social gatherings were divided into three types according to the subject: dances performed at social gatherings for the elderly, reunions of officials who passed the national civil service examination in the same year, and social gatherings for the middle class. These dances were performed to strengthen the community spirit or to appreciate the performances of professional young male dancers called mudong.

Second, dances performed to celebrate the longevity of parents on their birthdays are analyzed. In such events, the mother was considered the most important character as well as audience, and the concept of “filial piety” was emphasized in the “Son’s Dance.”

Finally, dances conducted in private folk venues are examined. Some of these paintings portray a son who dances as a “performer” to celebrate his parents’ diamond wedding anniversary. Other paintings depict a clown dancing in a three-day parade where a person who passed the national civil service examination visits his examiners, high-ranking senior officials, and his relatives.

This study explores a case of hooded crane dance performance that deals with the ecological environmental characteristics. In addition to choreographing movements and gestures, the subject of hooded crane performance was featured with theatrical dialogues. The data collection included choreography notes, photos, videos, memos, dialogues, and performance pamphlets collected twice in Nantes and Suncheon city between May and August 2019. The qualitative analysis of the data were presented in the following ways.

First, by reinterpreting the story of the wounded hooded crane (Doori) found in Suncheon the performance expressed the ecological life and adversity of the hooded crane from the opposing viewpoints between the ecological environment and humans. Second, the reactions of spectators suggested that the hooded crane dancing performance turned out to make them feel more interested in nature and ecology. Third, due to the real story of Doori, the performance played a role in reminding the meaning of the performance (i.e., ecological sensibility) while the locals appreciated the story in a friendly way. This study indicated the parts to be supplemented in future performances and expandability by attempting performances in the ecological environment of Suncheon Bay (tidal flats, etc.).

This examines the formation background of Han Seong-jun’s Janggo-chum, the performance activity of his disciple Kang Seon-young, and its transmission to Yang Seong-ok.

The celebrated drummer Han Seong-jun understood fully the united relation between dance and rhythm, and developed it into a traditional dance through musical elaboration.

Kang Seon-young, a pupil of the Joseon Music Dance Research Association led by Han Seong-jun, was attached to his dance and idea to preserve and hand down the Korean Dance. In 2000 she presented the performance, restoring the prototypic repertoire of nine pieces of Korean traditional dance including Janggo-chum performed by her master in 1930s. This study focuses on the transmission aspect and analyzes the characteristics of the dance movements presented in literature, performance pamphlets, moving pictures, and interviews.

First, the composition puts emphasis on playing the hand beat that can back up dance movements so that a dancer skilled at beating by hand can dance without help of a drumstick. Second, the music is made up with a ballad tuned accompaniment, starting from the lengthy tune over to fast, and back to lengthy in the end. Third, the dance contains the Korean beauty of moderation in the harmony of elegant movements and light rhythm according to the musical change. Fourth, the costume consists of a white upper garment with indigo cuffs and purple garment strings, and a crimson skirt. Fifth, the genealogy is from Han Seong-jun to Kang Seon-young, again to Yang Seong-ok, and there are many successors today.

This study sought to identify the effects of Sogo dance learning on brain function in elderly women. To this end, the subjects of the study consisted of 15 experimental groups participating in the practice and 15 non-participating control groups, with the practice period of 60 minutes twice a week for 12 weeks. Each group measured brain functional analysis with Electroencephalogram(EEG) before and after the experiment, and two-way ANOVA was conducted to determine the difference between group (small dance, control group) and period (pre-post) using SPSS 25.0 (IBM, USA). All statistical significance levels were p<.The following conclusions were obtained as a result of setting it to 05. First, the brain function index, which varied between the groups, showed significant changes in five brain function indices: basic rate coefficient (left brain, right brain), attention index (left brain, right brain), active index (left brain, right brain). Second, the brain function index, which differed over time showed significant differences in total of five brain function indices: self-regulation index, basic rhythm index (left brain), attention index (right brain), emotional index, and brain index. These findings could scientifically prove the unique characteristics and intrinsic value of Korean dance through the utilization value of Sogo Dance, and it is hoped that brain science-based dance research will take place in many ways

This study recognizes the role and importance of basic dance in Korean dance education, and aims to identify the research trends on basic dance choreography for about 50 years and examine the current status to be used as basic data.

In order to examine basic dance research trends, it was analyzed by year, publishing agency, and topic-specific criteria, and a total of 66 dissertations published from 1974 to 2020 were selected after keyword search using the RISS.

First, the annual standard was divided into five units for 10 years. The first phase of the study was 6.1%, with a high proportion of dissertations. The second term shows a quantitative increase of 12.1%. The third term decreased quantitatively from the second. The fourth and fifth periods saw rapid growth in research results, and a quantitative increase of 75.7% is confirmed. The subject of research has expanded to philosophy and aesthetics.

Second, the analysis by publishing organization showed that the dissertation was published at 13 universities and the academic journal paper was published at 16 academic societies.

Third, as a result of the analysis on a topic-specific basis, the most discussed topics are Dance/Movement Analysis, and the least discussed topics are psychology (treatment) and sociology/anthropology.

The last 20 years of the 50 years of research have shown a radical development in basic dance research, showing remarkable academic achievements such as proliferation in terms of various research topics, multi-disciplinary analysis and depth on specific topics, and efforts to build the structure and principles of basic dance.