This study is the first step to build electric culture map in advanced form with the topic of korea intangible cultural heritage dances. It aims to search for design methods for electric culture knowledge map. In order to achieve the objectives of the study, the present status of electric cultural knowledge map design methods was researched. After identifying the problems and systems of cultural heritage from Cultural Heritage Administration, the directions of electric cultural knowledge map design were suggested. As a result of study, the electric cultural map attracted interest and attention from domestic academic circle since ECAI started in 1996. And then it has expanded to humanities, geography, history, folklore, etc. Accordingly, the development of useful electronic cultural map was required as a new form of dance history and research tools in the field of dance. Second, as a result of reviewing the cultural heritage map from Cultural Heritage Administration, the cultural heritage map reached the current advanced level by building nation-designated cultural heritage information with electric cultural map over about 10 years since 2002. It also provides with movies, photos, monographs, etc. visually. However, the vast amount of troubles was found from search index, types of cultural heritage, location expression, distribution, information error, etc. They are the errors which occurred in the middle of building and classifying a great deal of data. Classifying system of easy search and multi-functionality was required. Third, the korea intangible cultural heritage suggested as problem recognition, electric cultural knowledge map of dance targeted only intangible cultural heritage dance to improve information provision. Linking to professional academic information like paper, it provides integrated professional knowledge, which is a dynamic content. Therefore, according to designed system, area classification and input guidelines were suggested as examples. Virtual map was realized to identify the potential to build electric cultural knowledge map of dance.

The purpose of this study is to analyze the images of dancing women in the Korean novels from the 1910s to the 1950s and to investigate the relevant social discourse and cultural context at that time. This study focuses on the Korean novels as the research materials and the media to reflect the people’s awareness and social aspects of the times. The 6 novels selected through the material collecting process over 3 sessions are 『Moojeong』, 『Bokdeokbang』, 『Mooseong-gyeokja』, 『Seoul』, 『Sawhasan』, 『Silbimyeong』. The substantive characteristics and relational characteristics of dancing women appeared in the novels are arranged by type through text analysis. Their social implications are also explored. As a result, the images of dancing women appeared in the Korean novels are as follows. First, as the substantive characteristics of dancing women in the Korean novels, the number of dancing women appeared in the 6 novels is total 8. Their occupations and social activities are found to be Gisaengs, dancers, the students to prepare for being dancers. Second, as the relational characteristics of dancing women in the Korean novels, the relationships between main characters and dancing women are found to be classified into sexual relations and familiar relations. Third, the social implications of dancing women in the Korean novels are deducted from the opposite social awareness on Gisaeng and modern-girl dancer and the demands of the times on dancing women. It is expected that dance culture research would be enhanced and the close relationship between women and dance would be investigated if the follow-up studies to analyze the contemporary novels from the 1960s to the 2000s with the identical standards to this study are conducted. In addition, it is also expected that this study can contribute to the research on the Korean modern dance culture.

The purpose of this study is the job strain troupe of professional dancers and organizational commitment, job satisfaction, and to investigate the effect on turnover intention. The subjects were 241 patients in the final analysis of data was utilized as regular members belonging to professional dance groups throughout the country. Statistical methods for hypothesis testing was conducted using AMOS confirmation factor analysis(CFA) and structural equation modeling analysis (SEMl). The results were as follows. First, job strain of professional dancers have had a negative impact on job satisfaction. In addition, job strain had a positive effect on turnover doctor. Second, the job satisfaction of professional dancers appeared to have a positive impact on organizational commitment. In addition, job satisfaction was found to have a negative effect on the degree of separation. Third, however, job strain on organizational commitment, organizational commitment had no significant effect on turnover intention.

This postmodern era that we live in has its characteristics of eradicating the boundaries between forms of art. In this movement, where pure art and popular art are actively fusing and the importance of popular dance is becoming apparent, this paper has been developed to study a representative case on popular dance. For research methods, case studies and Dance Analysis has been combined. Case studies on idol related publications and thesis papers were used to demonstrate concepts and characteristics of popular art and idols. With Dance Analysis, details of has been examined. To accomplish this task, details from news articles, pictures, music videos, and stage clips has been reviewed and the four stages of Dance Analysis, describing the Components of the Dance, Discerning the Form of the Dance, Interpreting the Dance, and Evaluating the Dance has been applied. The three following conclusions can be drawn from this study: First, the dance emphasizes cuteness and sexiness to attract male fans. Second, the dance moves are highly repetitive, which makes it easy to pick up, appealing to the mass, exciting and enjoyable with popularity. Third, the easy-to-follow moves are friendly and makes the spectators join to develop an extraordinary feeling of group cohesiveness. In this culture, popular art has significant influence on people. I earnestly hope that this work could offer a complimentary vision for popular dance to rediscover its true meaning and value and elevate its status to a inspiring dance.

The purpose of this study is to examine the growth process of professional ballet educator; the development process of ballet teaching professionalism. Following qualitative study paradigm, this study considers ballet educator’s life, training, and educational context. Specially based on phenomenological study, this study progressed from March 2011 to December 2012. Research participants are selected by traditional case selection(Miles & Huberman, 1994) and theoretical sampling(Strauss & Corbin, 1998). For data collection, literature review, pilot study, and in-depth interview were used. Collected data were analyzed based on qualitative method; Moustakas(1994) and Polkinghorne(1989)’s method. To achieve truthfulness and ethics of the study self reflection, triangulation, member checks, and peer debriefing were used. As a result, the development process of ballet teaching professionalism divided into four periods; initiate period of ballet teaching, progress period of ballet teaching, confront period of ballet teaching, and master period of ballet teaching. Each process shows not regular and straight form but complex and circular form. Especially during the progress and confront period show dynamic growths and conflicts. Based on the results and comments, I could propose educational efforts and follow-up research for ballet educator.

The purpose of this study is to analyse and comprehend the aesthetic elements of Herodiade performed the premiere in 1944. For this study the piece’s content was apprehended from texts, the written sources. In addition, the study suggests the internal aesthetics and formal aesthetics explored from technique, movement skill and expressivity. As another aesthetic perspectives this study approaches to the choreographer, Martha Graham with a viewpoints of Nietzsche, feminine truth. The piece, Herodiade deals with the method of representational expression. The breathing as movement principle is found as an aesthetic element identifying the substantial life. The technique based on breathing accepts the emotional tension and senses, broadens the movement areas, and identifies the dance’s internal life in its expressiveness. The bird-formed sculpture stands for the ‘internal bird in mind’. This bird also stand for psychological tension of woman, in later part of the piece a dancer drift apart from it. Graham express herself the rebuilt life-world, solve out the psychological tension experienced in reality, by interacting with the significant bird-formed sculpture, and with another dancer’s role of nanny. In choreographer’s stance, the aesthetic of Herodiade is considered as an expressiveness, femininity, bodily experience and entranced phenomenon. The piece enable the lived experience of the grace, the unity of art and life. The contents of the piece stimulate to find out the meaning and aesthetic value from the loss of authority and power, individual emotion, entrance, and extreme world of sensitivity. The piece deals with the bodily experience of feminine world, implies the aesthetic element of the grace in aspects of recognition of greatness. It enable to meet a woman and her image of waiting the unexpected, wandering, as one aspect of human beings. The femininity conceived by Nietzsche is described as reinstate from masculinity. The woman for Nietzsche is considered positive, artistic, self controled. Nietzsche’s truthful viewpoints suggests a view of feminine world in accordance with the relationship of body and the earth. The significance of this study is on the rediscovery of femininity and its meaning.

This study extracted the literary figuration of the Sleeve Dance (袖舞) from the literature collections of Joseon Dynasty, and explored its meaning and style. As a result, the study extracted not only ‘Jangsu (長袖)’ and ‘Chuisu (翠袖)’ with connotative meanings, but also ‘Bun (飜: Bunyeon 飜然: Yeombun 艶飜)’ and ‘Pyeonpyeon (翩翩)’ the specific descriptions for fluttering sleeves, and ‘Pasa (婆娑)’ the description for non-conventional dance. After exploring the meanings of their origins and exemplary standards, the study emphasized that ‘Jangsu’ should be considered not only the shape of a long sleeve but also a gorgeous sleeve dance of a beautiful dancer, and ‘Chuisu’ should be considered not only the color of a green sleeve but also an excellent sleeve dance of a pitiable dancer. The study also confirmed that ‘Bun’ was a general description for a fluttering sleeve, ‘Bunyeon’ was a description for a sleeve fluttering high enough to touch the sky and changing very quickly, ‘Yeombun’ was a complex description for the combination of a beautiful dancer and beautiful sleeve, ‘Pyeonpyeon’ was a description for a very thin and light silk sleeve fluttering like a butterfly, and ‘Pasa’ was a description for a sleeve movement which was more rough and non-conventional than an ordinary sleeve dance which generally moved light and swift. Those descriptions were confirmed to be based on the standards from the Classic of Poetry (詩經) and Tang Poetry (唐詩), and these phenomenons were confirmed to be the part of Classicism (擬古主義). This study has significance to bring ‘Sumu’ in the center of discussion for the first time in Korea

To investigate dance graduates current state of employment, preparation process for the foregoing and job satisfaction, this study selected 108 graduates who graduated department of dance within three years as subjects of study. After establishing two study questions according to the purpose of study, this study used a questionnaire composed of total 22 questions. This study carried out descriptive statistics, frequency analysis, reliability analysis and correlation analysis using SPSS Win 18.0 program to analyze all data collected, and results are as follows. First, about 54% of graduates are getting jobs in the field of performance including dancers and choreographers as types of employees, and their monthly average income ranged from more than 1 million to less than 2 million. And responses that development of ability in the field of major is the most important for employment and prepared more than three years were the highest. As for the route of employment, about 59% were receiving help from introduction of acquaintances. Second, results of descriptive statistics on job satisfaction show that occupational profession was the highest amongst job satisfaction, and human relations, social appreciation and support and satisfaction of economic income followed in order. And a high degree of correlation and significant differences were also found in four constituting concepts and each subfactor of job satisfaction.

This study examined realistically the forms themselves of the contents of Jeongjaedo depicted in ㆍㆍㆍㆍ that are included in Euigwe, compared them with Holgi, analyzed the reason and the reality in the content of mudo, re-examined in a broader perspective comprehensively, and concluded as the followings. Jeongjaedo of presents the dance type that performs the poguhui in the left and right sides of Bosangban. 14 pieces are included in 10 different kinds of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 6 kinds: there are as few as 1 and as many as 6 having the same content. Jeongjaedo of presents the dance types of sadaejwawu-daehyeong, sabang-daehyeong, and jeonhu-daehyeong. 14 pieces are delivered in 14 different types of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 4 kinds: there are as few as 1 and as many as 8 having the same content. Jeongjaedo of presents the dance types of obang-daehyeong and sawu-daehyeong. 14 pieces are included in 9 different kinds of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 3 kinds: there are as few as 3 and as many as 6 having the same content. Jeongjaedo of presents the dance types of twodaejwau-daehyeong and pumja-daeyeong. 14 pieces are included in 10 different kinds of Euigwe: 5 of them are Mudong and 9 of them are Yeoryeong. The contents of Mudong are categorized into 4 kinds: there are as few as 2 and as many as 5 having the same content. Jeongjaedo of presents the dance type that the seonmo sacrifices the seondo. 15 pieces are included in 11 different kinds of Euigwe: 4 of them are Mudong and 11 of them are Yeoryeong. The contents of Mudong are categorized into 4 kinds: there are as few as 1 and as many as 9 having the same content. In most Jeongjaedo dances, the content, that is danced in one kind of daeyeong for one side, is presented, and and separate the two kinds of daeyhyeong into the upper level and the lower level simultaneously. Jeongjaedo was used to introduce various contents by dividing them into many pieces and to present them by repeating the same contents for each Jeongjae. By inserting the various contents into one drawing, the artist tried to present the Jeongjae contents in a variety of views, and made us to experience the reality of the Jeongjae contents recorded in letters in Holgi, and reflected even the unrecorded contents as well.

This study explores the teacher-student relationship in a somatic movement program through a self-study approach, based on the teaching activity for a class consists of 9 females of 65–80 age groups. Through the somatic classes, in general, people experience their own movements. In this study we learned that the teaching is far more effective if the teacher-student relationship is horizontal and consistent body contact exists. Teacher-student relationship was getting deepen into love and compassion through the body contact such as short time massage in the movement session and hugs as the greeting. It provided calm and happy moments to the participants’ minds and bodies; moreover, the touch as a primal and instinctive act made them feel better sensitively and kinetically. Furthermore, the students permitted to access into their soma, which obviously improve the learning process of somatic discipline and they had the modulations of somatic experience in the first-person and second-person experience.