The purpose of this study is to suggest the direction of disability dance education by analyzing disability dance education research trends. Among the papers related to disability dance education registered in the Korea Education Research Information Service, 46 papers published, which were published from 2010 to October 2019 were examined, through content analysis and keywords analysis. As a result, the research scope has been expanded to the emotional, physical, and social adaptation targets for people with intellectual disabilities, and a number of studies on the use of dance for the purpose of physical rehabilitation while related keywords have been found. Therefore, it is necessary to convert the social members' awareness of the disabled arts through the disability dance education, and it is urgent to develop a dance arts education program considering the characteristics and degree of disabilities and to train professionals in the arts of disabilities. This study suggests a professional educational institution that educates the disabled to become professional dance artists.

The purpose of this study is to investigate the characteristics of discourse act that was unfolded in the process of modern Korean dance securing its significance as performing arts. In Korea, the first-half of the twentieth century witnessed the formation of new culture based on a clash between modern Western civilization that was accepted and the autogenous modern consciousness. The appearance of newspapers, in particular, provided ample opportunities for the reading public to participate in the society and gave birth to the modern consciousness of sharing one's ideas with others. This happened in the field of dance from various perspectives including reviews in the criticism format after the appreciation of dance performances, critiques, dance theories, and new ideas of the traditional dance. There was no establishment of proper dance criticism in Korea during the modern period, however there were meaningful acts to create dance discourses from diverse perspectives and enhance the aesthetic modernity of the public.

The purpose of this study was to investigate the significance of Mu-ui (舞義, ritual of dance) by Seong Gyeong-rin in dance history and its value as Holgi (笏記, scroll document). This study identified the characteristics of the Japanese colonial period Jangsaengboyeonjimu (長生寶宴之舞, Dance of longevity) by comparing the record in Mu-ui to that in Jeongjaemudogholgi (呈才舞蹈笏記, scroll document of court dances). First, the costumes of dancers were five colors, and second, the song Changsha expresses simplification and degraded expression. Third, there was a slight difference in composition at the end. Fourth, in the dance, the order of the nine-sided dance was all the same, so there was no big change, but dance details were added to Mu-ui or little details were recorded. Fifth, there was a change in notation, but most of them had the same meaning or dancing. Those findings indicate that Mu-ui by Seong Gyeong-rin has the following values and significance in the dance history. First, it holds its value as a Holgi of Yiwangjikaakbu (李王 職雅樂部, the downgrated insitution of Jangakwon). Second, it offers information about the changes of court dance by Yiwangjikaakbu during Japanese colonial period. Finally, it enables the reproduction of Yiwangjikaakbu’s court dance by Mu-ui.

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.

This study focuses on the sociocultural and artistical interrelations between the "Korean Dance" and two of the most popular non-textual forms of mass media - commercial sound recordings (gramophone records) and films (feature films, newsreels, documentaries) - between the 1930s and 1960s. First, this study focuses on how gramophone records were employed through the Korean dance recitals during this period, as well as on what type of music was used in these recitals. Second, this paper examines the films documenting "Korean Dance" shot and produced during the time period in question, and discusses how these films were produced and how it has impacted establishing the "Korean Dance" through its mass distribution. By doing so, this paper attempts to provide a preliminary suggestion on how the "Korean Dance" has made its transitions over time, as well as an opportunity to historically understand the actual manifestation of "Korean dance" during its earlier days of a modern form of performing arts. It can be strongly argued that a strong sense of a historical parallel is revealed between the historic development of the Korean Dance in the early 20th century Korea and the development of the notion of Korean national culture, as both came into their modern manifestation through a series of constant interactions between Korean premodern cultures and the modern foreign cultures.

This study analyzed whether there are differences in the evaluation of the attributes of dance performance audiences, satisfaction, and intention to revisit according to the lifestyle type. The main research results of the empirical analysis are as follows. First, it was found that the importance of the performance attribute differs according to the lifestyle of the dance performance audience. It was found that social relational and conservative culture types value performance hall facilities and accessibility, and open-minded groups regard performance hall facilities and performance groups' brands as important. Second, open-minded audiences were found to have the highest satisfaction and willingness to see the performance, and social relation-type audiences were the lowest. Third, it was found that the stage facilities of the concert hall and the brand factor of the performing organization had a positive effect on the satisfaction of dance performances. These results suggest that advertising and promotion strategies for performances should be different according to the lifestyle of the dance performance audience.

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.

The purpose of this study was to analyze the current state of studies related to perfectionism in the field of domestic dance and to discuss the direction of future research. The research was conducted by searching the academic search sites such as RISS and KISS, and a total of 69 studies on perfectionism were analyzed in terms of the publishing institution, publication year, research subjects, research methods, concept of perfectionism, variables related to research subject. Content analysis and frequency analysis were used as analysis methods, and the following results were obtained. First, theses and dissertations were conducted in 16 universities in total, and the journals were published in 17 journals. Second, the researches of perfectionism have been steadily studied since the 2000s. Third, Most of the studies conducted on the students of higher education courses majoring in dance. Fourth, Most of the studies were quantitative researches, so it seems necessary to carry out various research methods and research designs. Fifth, Most of the studies used the multidimensional concept of perfectionism and suggested the necessity of research on the development of scales for the domestic dance majors. Sixth, as a result of analyzing the trend of research based on the variables related to the theme, the most of independent variables were personality variables, the most of mediator variables were coping and moderating behavior variables, and the most of dependent variables were positive emotional variables. According to the results, research tasks were suggested an academic effort to try various research topics and subjects, research methods, and research designs by expanding the biased research area. It also implies that research should be activated through a creative approach and an in-depth understanding of the propensity of perfectionism.

This study aims to examine the educational development of Choi Seunghee’s training system, particularly with a focus on the development patterns of Korean-Chinese dance education textbooks and characteristics of Korean-Chinese dance education textbooks at Yanbian University in China, which has inherited and developed Korean-Chinese dance based on Choi Seunghees training system.

The characteristics of Yanbian University’s Korean-Chinese dance education textbooks examined in this study are as follows. First, it is based on the method of organizing educational textbooks, which was identified in Choi Seunghee’s training system. Second, the contents that were not covered by Choi Seunghee’s training system have been comprehensively adopted into the textbooks, which thus came to be loaded with abundant educational content. Third, a training system is currently established focusing on the basics of women’s dance movements.

Yanbian University’s Korean-Chinese dance education was able to create educational textbooks that could support the current logical training system due to the Korean-Chinese dance educators’ devotion to research on Korean-Chinese dance education, which was based on the principle of succession and development.