This study starts from the question of what kind of dance had been appreciated by Chinese envoys. The major spots where Chinese envoys visit are Uiju-Jeongju-Anju-Pyeongyang-Hwangju- Gaeseong and there are banquets for Chinese envoys, with female professional entertainer, called as gisaeng’ s dance performance. According to Joseonbu朝鮮賦, solmu率舞 which is a type of group dance was performed in Pyeongyang and Hwangju. Dance was included even in various amusements. And it was intended to show the very peaceful time to Chinese envoys through performing dance and song by gisaeng at han river. Also small scale dance was performed in Chinese envoy's personal space. The dance which was enjoyed by China Ming envoy in court banquets for Chinese envoys is ․․․․․․ ․․․․, court dance called as jeongjae(呈才). The number of gisaeng who entertained Chinese envoys was forty, during the reign of king of Sejong. The number of dances which has been enjoyed by the Qing dynasty envoys is smaller than what has been enjoyed by the Ming dynasty envoys. The number of parties and dance performances for Qing envoys in local is also smaller than Ming dynasty envoy's case. The Qing dynasty envoys appreciated jeongjae which was performed by dancing boys as called mudong in the court. According to diplomatic records in 1720, as called Tongmunganji, those were ㆍㆍㆍ etc.

Recently, circumstances for dance creation are changed, so choreographers choreograph in various methods. For example, employee choreographer, guest choreographer, joint choreographer, assistant choreographer, repertory choreographer, musical choreographer, collaboration choreographer. The purpose of this study is to examine, based on Korean Copyright Law and precedents of Korean court, who owns the copyright in these various choreographic participation methods and the effect of copyright ownership. As a result, this study concludes as follow: First, in case of employee choreographer, when choreography was done as part of his job under employer's planning, a work was played in the name of employer and as long as they have no other set in a contract or employees' rules, employer has a copyright. If not, employee has a copyright. Second, in case of guest choreographer, he or she has a copyright. If client and choreographer have agreed to transfer copyright to client by the contract, only author's property rights are transferred to client and author's moral rights are left to choreographer. Third, in case of joint choreographer, when several choreographers created a work jointly, and each contribution part is indivisibly united, so it is not available separately, everyone have copyright. But when each contribution part is available separately, each choreographer has copyright to it. Fourth, in case of assistant choreographer, only when he or she created really to some degree, he or she has copyright with choreographer. Fifth, in case of repertory choreographer, when he or she changes original work enough to be accepted as new work by social norm and his or her work is actually similar original work, he or she has secondary copyright only to the new elements of the derivative work. Sixth, in case of musical, when choreographer creates dance part, he or she has copyright alone to it. Seventh, in case of collaboration, artists of different genres can't generally have copyright to choreography, however, when a fusional work was created jointly, everyone has joint copyright.

This study has considered focusing on the patronage environment of the process where Choi Seung-hee dance had settled down as the pioneer in modern dance ahead of its time based on her performance of current 105 research in 2011 including books, master’s and doctorate degree theses, academic and symposium journals. The patronage environment of Choi Seung-hee dance has been limited to Asian region while classified into domestic and overseas. The domestic patronage environment includes Choi Seung-il who has played the most important role in her family members, cultural artists and association surrounding An-mak (An Pil-seung), and media organization and so on, developing a positive patronage environment. In overseas environment, this study has concentrated on the formation of ‘the White Cross Institute’ which is an official title of the Choi Seung-hee supporters association in Japan, and based on the political culture and supporters’ environment in North Korea and China, the performance that described overcoming the wartime condition and the period of political tumult could be staged. Among the initiators of White Cross Institute (白十字會) who had begun the patronage activity at the onset of ‘the Second Recital of New Choi Seung-hee Dance,’ many artists, politicians, presidents of magazine publishers, and cultured individuals who are chosen as the top-notch in Japan such as Baku Ishii or Yasnari Kawabata. Especially, many of the nationalist leaders who had worked for the independence of Joseon Dynasty were included and gained public attention. As a result, at the base of the fact that Choi Seung-hee dance has become internationally famous, the supporters’ association, politics and media, and military support involving progressive and literary foundation starting from the open and modern education in the literary family background have formed a dynamic structure in the background. At the groundwork of such patronage environment, one could figure out that more solid philosophy of dance was founded to establish the system of creating works and the performance environment. In a personal aspect, the most meaningful result from this study is that this research is the first to disclose the fact that the title of the Choi Seung-hee supporters association is ‘the White Cross Institute (白十字會)’ and the title of the well-known photograph in which a woman is jumping into the air with a transparent veil on her hands in the field in autumn is ‘Jeokgu Heunmu (赤丘欣舞).’

To evaluate properly the performance of the dance education program, it is necessary to develop the evaluation model based on logical and efficient principles. In other words, it is needed to develop the evaluation model which can provide answers for key questions related to the performance of the dance education program. Then, the purpose of this study is to develop a systematic evaluation model in order to properly evaluate the dance educational program operated by Korea Arts & Service Education Service. To build up a systematic model for the performance measurement, the basic framework of the logic model is used, for the logic model has been widely considered to help evaluators design evaluation and performance measurement for various programs. The evaluation model derived in this study logically explains the structural relationship among key elements in the evaluation process, and provides performance indicators which make it possible to measure performance outcomes and impacts quantitatively. Using the suggested model, it is expected to find ways to improve the existing dance education program operated by Korea Arts & Service Education Service effectively and efficiently.

Requirements of research ethics education depend on leaners' position and major. This article investigated issues of dance, which is in distinctiveness as science of arts, as well as research ethics education, and then considered direction of education. Firstly, one of the issues is articles on a living person. We need to prospect contemporary artists but have to get out of directly hierarchical relationship. When viewing the person objectively, we can secure neutrality. Secondly, it is awareness as 'a scholar' who interacts with dance places and mediate between theories and the place. Lastly, it is plagiarism. Artists would know it in both works and articles. Plagiarism is the field which is prone to be infringed widely in both of them. To solve these issues of dance studies, education direction of research ethics should reinforce its subject, mark the writer rightly, and commonly use checking system of articles similarity for preventing plagiarism in advance. Subject of current research ethics should consider distinctiveness of dance studies and I wish it leads to training needs of dance studies intensively.

An English terminology ‘community dance’ could be translated into Korean “Ji-yeok-sa-heo-ui-chum (Dance based Community)” or “Gong-dong-che-ui-chum (Communal Dance).” These kinds of community dance including “Ji-yeok-sa-heo-ui-chum” or “Gong-dong-che-ui-chum”, were nothing new at all, because they have been existed in every society and in every time. However, with boom of community dance in current Korean society, most Korea people are expecting that there are specifical meanings like ‘public concerns’ and ‘artistic value.’ Therefore, the purpose of this study is to define meanings of community dance while how this terminology is consumed by both in Korean popular society and Korean dance society. For this purpose, the researcher uses date analysis methodology. That is, the researcher analyzes data of news clippings and dance research list concerned with community Then, the researcher sums up the brief history of Korean community dance with external and internal approaches. In the historical approach, the researcher argues that how the term and methods of England community dance were combined with Korean communal dance. In the conclusion, the researcher suggests perspectives of Korean community dance.

Political stability and economic surplus in the late Joseon Dynasty accelerated the negotiation of traditional dances in the context of the demand of popular culture, increase in the desire to make art, and awareness of popular art. Such negotiation aspects became more distinct with the revitalization of the Seonsanggi system and stronger roles of the middle class. Particularly, the middle class was changed into the manager, enjoyer, and doer of dance culture with the movement of elevation of social status in the 18th century. They were the actant that laid foundation for dancers to meet their dances. The principal media of transformation in the dance culture formed between the court and the people, between surface and substratum, and between upper and lower classes were Gyoang and government-sponsored gisaengs. They created their own dances with such an axis as the center, which increased the number of each dance and gave birth to the advancement of dance history. What offered the core channel to the cultural diversity of traditional dances in the late Joseon Dynasty are the Seonsanggi system and the middle class. Gobang contributed to the birth of various dances as well as gisaengs of great dances. 18th century was the time for preparation of negotiation for others’ dances due to cultural diversity phenomena in the late Joseon Dynasty. 19th century was the zenith of desire for expression of dances in which the aspects of negotiation started in earnest.

This study was intended to introduce the modulation of somatic experience in Korean academic societies, which was one of the core concept of Soma Theory of Thomas Hanna. Although Somatics was introduced in Korea by several scholars and practitioners during recent decades, the concept of experiential modulations has remained vague on account of its difficulty. This study aims to eliminate the vagueness, tracing Hanna’s academic and professional background of his Soma Theory. For this study I visited Novato Institute to see Eleanor Criswell and other colleagues twice and I had chances to discuss with the Somatic Educators the vague area of Hanna’s theory. The first texts for the cross-analysis used in this study included his books, training manuals, and articles mainly written by Hanna and his colleagues in the magazine-journal ‘Somatics,’collected in Novato Institute and Myong Ji University Library. As a result, this study clarified three modes of somatic experience, in the first-person, second-person, and third-person experience, and the modulation of somatic experience. At the same time this study was able to find their relationships to the transformation of our material-based age and the significant position and role of Somatics raised by Hanna in the mobile revolution Era.

The purpose of this study is to analyze and organize verbal descriptions articulating dance movements as a method to pass down a basic dance that epitomizes the unique stylistic features and techniques of an individual dancer in the contemporary and modern times when Gujeonshimsu(handing down orally and instruction with spirit) is the general teaching method in Korean dance education. The late Korean dancer and choreographer Choi Hyun is renowned for his commitment to performing and directing various genres of dance as well as nurturing students. As a highly acclaimed Korean dancer, his unique dance movements and skills are well worth being preserved for future generations. In this regard, this paper presents a method to hand down the legacy of Choi’s dance by classifying representative movements and techniques from his basic dance that integrates the creative skills and movements found in many of his performances, and by systemizing verbal descriptions of those movements. To that end, key movements of Choi’s dance were classified and their verbal descriptions were analyzed through examinations of previous studies of his dances, an analysis of his performances on video, and an empirical analysis on the repetitive practice of mimicking his moves. A summary of these research findings suggest the main features of Choi’s dance as described by previous studies as follows: artistic dance with transitional characteristics both contemporary and modern; theatrical expressionism; harmony between masculine and feminine; charm of impromptu motions found in Deotbaegi-chum, a representative dance of the Gyeongsangdo region; the inseparable relationship with music; upright postures and curved arms; metaphysical joy and flavor; and the beauty of emptiness and romanticism, etc. The movements featured in the videos of Choi’s dance performances are analyzed based on what characterizes his dance as found in previous studies. According to the results, the movements are largely classified into three categories: whole body movement; upper body movement; and lower body movement. With each category having four subcategories, the movements are classified into a total of 12 forms of movement verbally described. The whole body movement is demonstrated in four techniques: left and right body swinging and upward and downward closing movement; slight forwards and backwards walking with alternate leg crossing; fierce upward and downward body movement; and closing movement. The upper body movement is classified into four postures or movements: waist twisting; head tilting; circular arm movement; and cross-winding both hands. The lower body movement is displayed in four techniques: legs kept together and legs kept together while standing; short steps; low jumps; and legs-together standing posture. In conclusion, to identify the key elements of Choi Hyun’s basic dance movements and systemize verbal descriptions will be one of the ways to transmit the artistic value of his unique dance performances.

This study examined Jeongjaedo of , , , , and from iconographic perspective, which was compared with holgi recording for the analysis of the basis and practice of mudo. Jeongjaedo delivers the most distinctive elements of the Jeongjae dance, including not only those recorded in holgi but also those not shown in it. , flower dance centering on hwajun, illustrates the dancing process of dancers’ playing, picking flowers and then dancing. is a dance based on the 2 dae and 6 dae jwaudauhyeong. It illustrates the introduction, the conclusion and the development of a dance recorded in holgi. illustrates the dance mostly performed with the buk, which depicts the dancing before and after dancers pick up the drum stick. is a dance with the abak which describes the dance after dancers pick up the abak. illustrates the dance that depicts those enjoying poguhui with gumun in the center. The same contents tend to be drawn repeatedly in jeongjaedo, but the pictures of yeoryeong and mudong are classified. Sometimes the same content is repeated in as many as 5 pieces of pictures. Jeongjaedo presents different dance structures according to different dynasties and ceremonies. It also presents the arrangements of the dancers, the directions in which they are supposed to look and different dances for respective dancers. Jeongjaedo condenses multiple contents in one piece of picture. Therefore, it tends to be complex and multifaceted. All of the jeongjae pictures follow the same style with fixed positions of the dancers. Depending on the kind of jeongjae, some jeongjaedos repeat the same content, while others depict different contents. The reason that each jeongaedo was drawn in different style is that the contents of jeongjae found in holgi are to be presented in diverse contents condensed in one piece of picture. Therefore, for a complete comprehension of holgi jeongjae, it is necessary to go through several related jeongjaedos. Jeongjaedo especially reflects well the characteristic of jeongjae, which is the performance carried out based on formation and makes up for limitations of the written records of Jeongjaemudo Holgi.