This study aims to examine the contemporaneity of performance archive and reconsider the historicality of dance, focusing on practice and theory in contemporary dance. For this, I explored theories and discourses that arose in contemporary arts, and I have analyzed the cases of archive practice. Over past two decades, choreographers in contemporary dance have experimented contemporaneity and history through archive practice. This study focuses on historical concepts of archive in order to find the meaning of the choreographer’s re-enactment. In this study, I refer to Walter Benjamin and Michel Foucault’s proposal on history and archive to construct the theoretical frame of this study. “Actuality” in Walter Benjamin’s philosophy is heterogeneous time modes of the past and the present in singular moments, and it presents reality. Foucault suggests archive as a system of transformation and severance. He exceeds common perception of linear history with an archeological approach. To examine how choreographers apply archive to their work in a level of choreography and body as medium of dance, I have chosen the works of two choreographer: Yvonne Rainer and Boris Charmatz. Rainer uses the methods of “repetition” and “representation”, which transmit from one body to others in her . She suggests performative archiving to produce new creations in the process of returning to the original. Charmatz writes new history, which is established between dance history and a dancer’s memories in the present time. They both emphasized that a body is the subject of both dance and real life because every segment of history inhabits the body. Therefore, there are no distinctions between archive and body in dance. In this study, I discuss performance archive being toward embodied actualization with the choreographic approach. Performance archive is not only a form or style of dance but also questions, engagement, relationships, and enactment of the objectivity and subjectivity of dance. In this light, the choreographic is the way to create both dance and history.

This study analyzed traditional dance scenes in historical dramas and related internet articles in order to understand their contents and characteristics, assuming that contemporary media discourse has contributed to the production of traditional dance images. The subjects of the study are the traditional dance scenes from eight historical TV dramas, which were broadcasted in 2016: , , , , , , , and related articles posted on the news category of the portal website Naver. The study showed that the image of a traditional dance appearing in the traditional dance scenes was portrayed as a beautiful, mysterious, or powerful means of tempting viewers. Most of young, female main actors played the dancers, and the close-up shots focused on the performers' faces. The types of traditional dances exposed to the dramas and the appearance of their movements were not appropriate for the historical conditions, such as the background of the dramas or the status of the characters. In addition, the fact that the gender and status of the performers were confined to female dancers or female shamans could not go beyond the historical fact at all. In the content analysis of the internet articles, it was found that the names of traditional dances were not based on professional knowledge. It was also found that, when describing traditional dances and performers, similar expressions were used despite the different types of dances and narrative situations in each scene. This is related to the fact that the contents of the internet articles were provided by the agency of the female entertainers who played the actors and filtered through the portal site, rather than reflecting the intention of the drama's producer or entertainment media reporters. In other words, the internet articles promoting the traditional dance scenes were written as a means to increase the popularity of entertainers. Therefore, it should be noted that this bears many problems when propagated to the public as a traditional dance discourse. This study is significant, revealing the image of “dance”, “dancer”, and “dancing woman” in and out of the dance system by revealing the image of traditional dance produced by contemporary media and media discourse. Finally, it is hoped that this study can contribute to generalizing the images related to dance and preventing the excessive prejudice over dance.

This study aimed to examine the transmission pattern of Kim Su-ak’s Traditional Dance and its artistic significance. Jinju Gyobang Dance refers to the dance handed down mainly through unique culture and Gyobang of the Jinju region. Representative Jinju Gyobang Dances include the Gutgeori Dance of Jinju Gyobang, Gueum Geommu, and Nongae Salpuri Dance. These dances were compiled by Kim Su-ak and then handed down mainly through Gyobang of Jinju and Seoul. This study examined the transmission pattern of Kim Su-ak’s Traditional Dance. In particular, it summarized three dance notations based on Seoul gyobang and looked into its expanding process through interviews with Kim Gyeong-ran, the assistant instructor of Kim Su-ak's dances. Jinju Gyobang Dance has not remained traditional. It has expanded from its traditional form, constantly giving pleasure to the public. This has been possible because it has increased its artistic value by creating a narrative structure through the perception of theater and space while retaining its original cultural form. This study showed that the value of Kim Su-ak’s Traditional Dance has been created by the transformation into the genre, which actively communicates with reality while faithfully keeping its original aesthetics and significance, and by the work to seek and build various methodologies. This can be explained by the specification of the original form and expansion into various themes through on the spot performances. This transformation into performing arts constitutes an important opportunity to explain works while presenting the direction of life to the public.

The idea of Korean dance that humanity and art should conform to the nature of heaven and earth is in common with Confucius' Confucian thought of Confucius. And it is connected with the aesthetic reason of harmony of right personality and healthy body. This study analyzed the aesthetics of Korean dance through the unity of heaven and human and I Keji Fuli between the as aesthetic feature of Confucian textuality. First, Munmyoilmu has a human the aesthetics nature and aesthetic character with a human the centered feature that makes up the virtue and personality of individuals and further builds a beautiful human society together with oneself and others. Second, the Kang Seon‐yeong style Taepyeongmu Dance endeavors to make a world in which a pervasive behavior affects the social community and all people can live in a society where order is fulfilled. It is a form of harmony and order of the heaven and earth, mediating the sky and the earth. Third, Dongraehakchum Dance with an idle creature of the gentry’s dancing, expresses the moral nobility of Confucianism that the crane possesses. The aesthetic consciousness of the viewer can be seen through the dance of the moral sublime of the coexistence of heaven and earth.

This study placed importance on being able to track aspects and characteristics of the dances which were popular in the Tang age (唐代) by examining the aspects of several Homu (胡舞) and Daegokakmu(大曲樂舞) shown in Bai Ju Yi (白居易)'s poems(詩). ≪Homu≫ appeared in the poetry and prose described , , and , while ≪Daegok≫ did and with details. ≪Daegok≫ was the dance that was restructured to add more grandeur and beauty. Bai Ju Yi changed ≪Daegok≫ to descriptive poems to make readers understand the organic relationship between its major historical background and figures. In this sense, the dance of the love between Emperor Xuanzong of Tang and Yang in Xi'an and the Emperor Dézōng of Táng (德宗)'s dances about beautiful music were all related to ≪Daegok≫. Thus, ≪Homu≫ and ≪Daegok≫ reviewed in Bai Ju Yi's poems can be found to be related to the foreign dances that were popular in the Tang age, the creative dances based on the traditional songs and dances, and historicity.

This study aims to understand how the terms ‘muyong (dance)’ and ‘shinmuyong (new dance)’ were initiated, used, and established in Korea through newspapers in the Japanese colonial era such as the Maeil Shinbo, the Dong-A Daily news, and the Chosun Ilbo. The term muyong was first used in Japan, as suggesting a new formal characteristic of being not only Western and but also Japanese. It was simultaneously born with shinmuyong, a term indicating a type of dance newer than the existing one. Shinmuyong indicated an achievement of creation of new Japanese dance that was regarded as being compatible with that of the Western powers. It was an article on the Maeil Shinbo dealing with Yeki, a Japenese dance, on October 7, 1913 that introduced the term muyong to Korea for the first time under Japanese imperialism. In the Dong-A Daily news, muyong represented the term ‘Western dance’ when European tanz theater in 1920s was introduced; it was used to indicate a type of Western dance with philosophy and artistry. The Chosun Ilbo first used the term muyong in its article titled “Western Dance Nowadays” on October 7, 1927. Since then, both mudo and muyong had been used to refer to dance until early 1928, but since late 1928, the use of muyong had increased rapidly in the newspapers and then became generalized. The first article describing classical dance such as geom-mu (a sword dance), a Korean traditional dance, as muyong was the one written by Kim Dong Hwan dated May 12, 1927. The term shinmuyong was perceived as a creative dance that produced something new in 1930s in Korea. It was, in other words, used as a term similar to new-work dance, creative dance, or creative artistic dance with artistry and creativity on the basis of European modern dance.

The purpose of this study is to suggest a way to reconcile two conflicting concepts: the system of intangible cultural assets and creative succession of traditional dances. Among the terms for intangible cultural assets in Korea, ‘prototype’ was changed into ‘typifier’ because of the legal revision in 2016. In addition, the term, ‘human cultural assets’, which has been actually used was enacted. Typifier is an advanced concept which makes a bridge between intangible cultural assets and artistic notion, while human cultural assets are also a concept that acknowledges an indissolubility between dance and human being. In order to encourage creative succession, while maintaining and preserving the artistic view on intangible cultural assets, this study proposes the following suggestions. First, we should actively find and appreciate holders of human cultural asset in their 40s-50s. It would help activating the dances and forming an independent job field. Second, we should acknowledge more than two people as human cultural assets for an item, accepting various and creative successions. It leads to restraints power monopoly and to promote competition among them. Last, succession fees should be unified by the Cultural Heritage Administration for securing transparency and fairness of accounts. These would contribute to creative successions of Korean traditional dances in the system of intangible cultural assets.

This study looks into the relationship of archive and dance practices by examining a case of archive applied choreography and I discussed the creation and discourses of contemporary dance which tends to archive. For this, I took a part in work of by Min Kyung Lee and João dos Santos Martins and I discussed the choreography which archive was applied. This work was developed into choreography by collecting and newly contextualizing many reworked versions of Vaslave Nijinsky(1889-1950)’s through archive methodology. For this research, I applied Studio-Based Research in order to investigate in the field of work. I found elements that deal with the choreographic approach to archive in . First, the relationship of author and reenactor. A certain arts piece guaranteed authorship and this as the original guaranteed status in the past. However through a choreographer’s translation it seemed like a resistance against power and hierarchy given by history. Secondly, the relationship between mimesis and creation. Through many repetetion of the original piece, differences are made with it, and in the translated works exists ‘singularities’. Thirdly, the embodiment of history. A choreographical approach to archive is to actualize the past through bodies and dance. Choreography which is based on archive organizes remaining documentation by a mechanism of dance and performance and to share with the audience. Through this study, as I tried to explore the relationship of archive and choreography in a practical sense, I would suggest a perspective on the production of creations and discourses in contemporary dance using the archive.

The research on "the data status and data use case of Simso Kim cheon-heung" started from the importance that the Kim Cheon-Heung Collection can be seen not only as an individual archive, but also as a manual of an extended artistic record and utilization method of performing arts. This study has a second purpose of sharing information to be a mediator of researches on Kim Cheonheung by grasping the current status of the materials and the cases that have been utilized. As a research method, I focus on the activities of the Korea Dance Resource Center, which I have participated in the past, and analyze event materials (event plan, programs, materials, books, etc.) Related site search. In addition, I analyze the case of reconstruction of Cheoyongrang. I expect that this study could be seen as a reference in the creation or reproduction of archiving.

This study compared Jeongjaemudo Holgi (musical scripts) with video materials of “Mugo” (group dance from the Goryeo period) and “JangsaengboyeonJimu” (court music from the Joseon period) performed in the 1980s at ‘Traditional Dance Presentation’ of National Gugak Center following Simso Kim Cheon-heung’s restoration of them. By doing so, the study sought to learn how he had restored the court dances. As a result, the study found following characteristics of “Mugo” and “JangsaengboyeonJimu”. First, the greetings were added both in the beginning and the end of the performance. Second, the songs of the dancers were simplified. Third, there was no big change in dance formation. Fourth, there were omissions or additions in the procedure of the dance. When he restored court dance in the 1980s, the restoration was built on what he learned from Music Academy of the Joseon Dynasty and a number of materials including Akji (music book) of Goryeosa, that is lustrated Text on Traditional Music and Holgi. His restoration of the court dances in the 1980s was affected by periodical circumstances and creative experiences during the 1950s. This study concluded that the court dances he restored was the extension of tradition and literature interpretation. This study identified his spirit from his restoration which was completed based on experience and aesthetic attitude. Rather than sticking to the original literature, he showed the essence of the court dances as a new form of art by putting it on stage. He desired to turn the court dance into a contemporary proscenium stage art and to elevate it to the modern art form. As such, his restoration of the court dances in the 1980s was a process which he embraced the change of the period. Thus, Kim Cheon-heung can be considered as an artist who demonstrated artistic capability encompassing tradition.