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.

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