The purpose of this study is to explore the creative scene of youth dance artists by revealing the meaning of the audience to them based on their experience of the creative support project of youth dance artists. In order to do so, in-depth interviews were conducted with three youth dance artists who were beneficiaries of the program and the transcriptions of the interviews were analyzed qualitatively by constant comparison method. From the results, I was able to derive the significance of the following three categories. First, starting from the conception phase, the youth dance artists try to instill in their performance a value that is up to par with the high expectations of the audience. Second, they think that the critiques by critics and other professionals in the field are limited and propose the need to give more weight to the reactions of the lay audience as an evaluation factor. Moreover, they suggest the need to diversify the evaluation committee and review committee members in order to encourage the inflow of new dance artists. Third, the youth dance artists point out the difficulty of their activities reaching the critics as well as the media and point to the audience as a remedy to the issue as well as a driving force to construct new field of dance. First, as an element of support in the program, I propose to strengthen the support in the domain of criticism. There is also a need to improve the program’s current process of evaluation and review to emulate a structure in which currently active artists, professionals of various fields, and the lay audience can participate. Finally, I propose to strengthen the role of the country as a facilitator that encourages the support of its citizens and emphasizes the role of the market.

Past English-language scholarship on Choe Seung-hui has focused on her world tour of 1938-1940 and her work in Japan and Japanese-occupied Korea prior to 1945. Choe’s contributions to dance creation in the socialist world have been largely ignored. This essay expands on the existing scholarship by using Chinese-language source materials to examine Choe’s career in China and its implications for the connections between the pre- and post-1945 periods of Choe’s career. This essay documents three important parts of Choe’s work in China: her development of China-themed choreography, her adaptation of new dance forms from Chinese opera, and her training of the first generation of Chinese dance professionals. I argue that Choe’s work in China was continuous despite changes in political context. The project that she began in the 1940s as part of the pan-Asianist project of Oriental Dance later transformed by the 1950s into Chinese classical dance under socialist internationalism.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

This study aims at considering on Japanese postmodern dance, by researching Hijikata Tatsumi’s Ankoku Butoh, Dance of Darkness, which is known for most famous avant-garde dance of 1950s in Japan. Hijikata’s Butoh, started with Kinjiki in 1959, was an entirely new dance form having different qualities of expression from the other dances such as classic ballet and modern dance at that time of Japan. Mostly showing the experimental attempt on the stage by ordinary movement from the late 1950s to the early 1960s, Hijikata changed his performing style from his work in 1968, Hijikata Tatsumi and Japanese – Rebellion of Body. That means that Hijikata tried to make his own movement method. This study focuses on ‘Butoh notation’ as the principal reason of changing movement style of Butoh. By analyzing the existence of Butoh notations and contents of them, the research would figure out the actual relation between notation and creation of a new style.

Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.

The period from the late 1930s through the 1940s was a tumultuous time in China because of two devastating wars—the War of Resistance Against Japan (1937-1945) and the Chinese Civil War (1945-1949). This essay examines the impact these wars had on concert dance, at the time still a newly emerging art form in China, by examining the case of Liang Lun 梁倫 (b. 1921), a dancer from Guangdong who began his dance career during the 1940s. Although Liang is widely considered to be one of the founding figures of modern Chinese dance, he has received almost no attention in the English language scholarship. This essay thus serves as a preliminary examination of Liang’s early choreographic repertoire, as well as a reflection on the ways in which Liang’s experiences reflect broader trends in Chinese dance during the wartime period.

This paper looks at Formosa (2017), the last full-length dance work by the founder and artistic director of Cloud Gate Dance Theatre of Taiwan, Lin Hwai-min. As a former writer and trained journalist, he is a socially aware choreographer who expresses his concern for his society through dance. I first contextualize his oeuvre with his earlier pieces based on the theme of Taiwan such as: Legacy (1978), Portrait of the Families (1997), White Water & Dust (2014 double bill), and Rice (2013), leading up to this full-length multi-media production. I also explain the hybridized Cloud Gate corporeal training from the East (e.g. taiji daoyin, Chinese martial arts) and the West (e.g. ballet, Martha Graham modern dance technique), as I unravel how Lin Hwai-min executes his citizenship through choreography.

This case study research aimed to analysis the dance program to heal the unstable emotions of teenagers who experience school violent. The dance program was held at the A Welfare Center in Seoul for 10 sessions, 100 minutes per week. The program has improved the participants' unstable emotions and negative self-image. Participants want to express their feelings in a healthy way and find the positivity inherent in them. And they tried to improve their social skills by improving self-expression. After finishing the program, participants recovered the violence, depression and low self-esteem caused by wounds to the body and mind. It is meaningful that it has a positive effect on healthy relationships by learning how to communicate with other friends.

This study aims to reorganize the chronology of the deceased Kim Suk-ja's life as a dancer, the holder of the National Intangible Cultural Asset No. 97, Salpuri dance. In particular, the chronologies of Kim's dancing activities presented in the pamphlets of her memorial concert which has been held for 10 years after her death show inconsistency and errors. Therefore, this study attempts to correct them. She had carved a place for herself as a traditional dancer while doing activities as a Shamanic dancer in Seoul since 1976. As a result, part of her chronology that displayed the schedules of her activities since then was made public by newspapers and therefore is reliable. On the other hand, information on dancing-related activities from the Japanese colonial era to the 1960s by Kim Suk-ja, who was born in 1927, is unclear. Her chronology during this period does not sufficiently reflect her dancing activities or provides incorrect information. Therefore, this study corrects and reorganizes her aspects of learning dances during her early years and information on her activities in Daejeon from historical contexts.

The contemporary notion of choreography as a structural system of human movements in diverse contexts becomes radically challenged in the context of digital performance. Digital performance works that do not necessarily have human dancers, but instead present digital images and sounds can hardly be seen as choreographic practices in an orthodox way. In this article, I primarily investigated how the notion of choreography is reframed in the context of digital performance by delving into the entanglement of choreography with a computational system. In creating an human-computer interface, choreographers shed light on how the human subject is perceived, cognized and embodied through the entanglement of its corporeal body and the machine. Then, their choreographic sensibilities substantiated in the interface design process do not constitute embodied knowledge of the human body as a biological organism, but that of the posthuman body as an integrated being of the biological and the mechanical. In this sense, I argue that postchoreography as a mode of choreography for the posthuman necessitates the understanding of how a machine perceives a physical input and acts upon a virtual world.