The most important element in the Cheoyongmu is the mask of Cheoyong. Even if all of the costumes are present, the performance is not considered Cheoyongmu without the mask. In the ninth volume of ancient record Akhak gwebeom, in the section titled “CheoyongGwanbokDoSeol,” the making of the mask is recorded in detail., as well as the costumes and accessories used in the Cheoyongmu. From 1394 to 1442 (Sejong ’24), Cheoyongmu actors were women; however, men performed the Cheoyongmu for 61 years, from 1443 (Sejong ’25) to 1504 (Yeonsan ’10). After that time, the Cheyongmu was performed by women again. As of 1504, the Cheoyong mask underwent a drastic development. The time-frame of this change was 11 years after the Akhakgwebeom was written. Under the Yeonsan kingdom, Cheoyongmu was recorded in greater detail, mainly because of the king’s great interest in the performance. The significant changes made to the Cheoyong mask also occurred because the performance attracted the king’s attention. One example of the change of the design can be found in the mask’s beard; in the description in “Pubyok pavilion banquet,” the Cheoyong mask has no beard, which is extraordinary because this became one of its most distinctive features. Another example is the protruding jaw of the mask. In the books of “Dobyoeng” and “Gyecheop,” the jaw part of the mask was significantly emphasized. All of these features contradict those mentioned in the Akhakgwebeom. The design of the Cheoyong mask was not concluded in the time of writing the Akhakgwebeom; instead, it underwent significant and constant change over time. During the Japanese occupationera, the mask design deviated from the original design used in the Chosun dynasty. The office of the “Aakubu” is known to have performed the Cheoyongmu; however, the mask and costumes were not consistent with the original version of the performance. This is considered to be a separate artwork rather than the Cheoyongmu. There is also a record showing that some Japanese people made Cheoyong masks in that era. Throughout the late Chosun dynasty, the design of the Cheoyong mask was distinct to what is believed to be the original. However, the exceptionally long jaw of the mask, as described in “Heon-jong-dae mu-sin-jin-chan-do-byung,” is no longer reproduced. Regarding the changes of the mask in this era, it the true original design of the Cheoyong mask remains controversial. This represents another cultural disturbance stemming from the enforced occupancy by Japan. In this regard, the study of the Cheoyong mask represents the recovery of the distorted tradition of our country. From studying the Akhakgwebeom, as well as other historical records, we are finding out about a variety of original designs of the Cheoyong mask, including a humorous version from the Chosun dynasty era.

Dance archives help researchers not only to understand performances, but also to promote related studies. Recently, dance archives have been produced and managed in some performances, although organizations producing and managing dance archives are still limited. Studies on the values and utilization of dance archives have to be carried out to understand and utilize dance archives. This study compared archives－Seongdanhyangui and Sajikseo Uigwe－and performances－Yeongseongje (2015) and Sakjikdaeje (2014)－to study the values and utilization of dance archives. The paper demonstrated that the archives value and cultural resources have inherent value in dance archives; it also analyzed cases of using its values.

The purpose of this study is to develop interdisciplinary research between dance studies and big data analysis. To this end, the text mining technique, which extracts meaningful information from text, was adopted as the research methodology. In the process of text mining, original PDF texts on the themes of Chum/Muyong(dance), morphological analysis, user dictionary construction, and social network analysis were collected to extract significant named entities and clarify the relations between them. The outcomes of the process, which comprised the extracted text data (total 10,231 copies), a named entity classification table, and a network of named entities, were loaded into the big data analysis system under development. The findings of the study are as follows: First, there were 25 total morpheme types, with 24,691 words with a frequency of more than 100. From these, a second morphemic analysis of sentences containing words such as “Chum” (춤), “Mu” (무), and “dance” (댄스) was conducted. It was revealed that in parts of speech with a frequency of 10 or more, there were 3,057 nouns, 602 proper nouns, 352 verbs, 205 numbers, 135 adjectives, and 35 adverbs. Second, a user dictionary was developed in the form of a taxonomy with stratification between hyperonym and hyponyms. The dictionary contained 2,404 words, which were classified by theme, person, dance piece, genre, theory, function, element, and period. Third, social network analysis revealed that the terms “Muyong,” “Chum,” and “arts and culture” were closely interconnected at the heart of the network. In contrast, dance deviated somewhat from the center. “Dance” was the only word to be connected with the network of dance sports and jazz. This study is significant because it represents the first attempt to apply text mining to written records on dance. In addition, it could suggest ways to expand the use of big data analysis to dance studies. Based on the study, a big data analysis system that is specialized in dance was developed, and the contents will be updated continuously.

The purpose of this study was to examine the state of choreography education as part of musical dance education in music departments in the United States, France, and South Korea to spread awareness about the necessity of creative choreography education to expedite the revitalization of the inclusive functions of dance in musical departments. In the United States, not only the theoretical dance classes but also advanced practical dance courses (tap, jazz, ballet, and modern dance) necessary for musical education are offered in a systemized way. Furthermore, other courses give students who have taken the practical courses the opportunity to produce their own works through creative choreography. All of these courses enable students to exert their creativity. Similarly, many creative dance courses are offered in France along with theoretical courses, although few professional dance techniques are taught in musical dance classes in professional arts schools specializing in theater in comparison with the case of the United States. Students who take creative dance courses are given a lot of time to produce their own works in collaboration with other fields. Indeed, they are educated to be fully aware of the roles of dance in works. In musical dance classes in South Korean colleges, however, there are generally no further attempts to provide opportunities to experience dance in the repertoires of existing musical works. Indeed, current musical choreography education is neither systematic nor professional enough to teach students to come up with creative, inclusive ideas through experiencing a wide variety of dance genres. Fundamentally, the curriculums of the musical departments aim to nurture the professional human resources necessary for musical production; dance choreography education should be integrated into and strengthened in these curriculums to foster actors who are skilled at acting, singing, and dancing. In addition, more cooperative programs should be prepared to provide opportunities to produce works in collaboration with other fields. In this way, competent human resources will develop into musical directors or producers who are aware that choreography is no longer a supplementary part of musical education but should rather be developed along with acting and music. As this sort of education is expected to nurture capable choreographers who can create choreography with an excellent understanding of drama, dance choreography education seems to be mandatory for a musical curriculum.

The subject of this study was Sasangjwa dance, the first part of the Bongsan mask dance, which is designated as No. 17 of the National Intangible Cultural Properties. The Sasangjwa dance is composed of dances that have no lines. Four sangjwas pray for the audience’s well-being and fortune, and at the same time, purify the stage by bowing to the Four Symbols. The dance is ceremonial and has characteristics of Byeoksajingyeong(which means to defeat bad things and approach good things. The Bongsan Mask-dance Drama Preservation Society’s regular performance has occurred continually for the past 69 years. Although the National Intangible Cultural Properties’ diverse activities have been performed for about 70 years, only a small amount of academic research on the first section of the Bongsan mask dance, the Sasangjwa dance, has been conducted. In addition, the terminology of the Bongsan Sasangjwa dance steps has not been established; therefore, linguistic communication is difficult in educational courses on the Sasangjwa dance. Accordingly, this study aims to record and arrange the Sasangjwa dance academically, present its dance scores, and establish terms for its dance steps, thereby providing a reference for future research. The terms for the dance steps of the Sasangjwa dance are indexed and arranged based on Akhakgwebeom and Jeongjaemudoholgi. Existing research has considered folklore mask dances to be irrelevant to Jeong-jae. However, this study considered the Sasangjwa dance according to its dance steps, formation, and scores and used Jeong-jae terminology to describe them. In the process, it was discovered that Jeong-jae terminology is implicative and uses referential and figurative language; this terminology was particularly convenient to explain the dance steps of the Sasangjwa dance, since the characteristics of traditional Jeong-jae were handed down to gisaengs, who adopted the Sasangjwa dance. During Japan’s colonial era, the Sasangjwa dance was performed by gisaengs at regional offices in place of the existing male mask dancers; as a result, the Sasangjwa dance was transformed into a feminine dance that was in obvious contrast with the Mokjoong dance. In this paper, the aim of establishing of dance step terminology for the Bongsan Sasangjwa dance was to facilitate the education of students and communication in general about the Sasangjwa dance.

This study investigated the family names of gakkge (musician families) and the status of appointment of each family name as recorded in the Appointment to the Chamber of Music (Gakuso Boin) in order to investigate important elements of Gagaku (Japanese Court Music). In addition, this study retraced the line of each family name. The Appointment to the Chamber of Music is a document that records the gakunin (musicians) who were appointed to the Chamber during a 153-year period between the late ancient era and the early Middle Ages. A total of 25 musician family names appear in this book. Of these families, five were most often appointed to gakuso (the Chamber of Music): Koma, Ono, Ogami, Toyohara, and Abe. In particular, the Koma line represents almost 30% of the people appointed, indicating that they were the most prestigious gakkge. In addition, of the 25 family names in the Appointment to the Chamber of Music, 22 were also recorded in the Newly Compiled Record of Clan Names (Shinsenshoujiroku). Of these 22 names, four are classified as originating from the Korean Peninsula line: Toyohara, Koma, Kudara, and Miyake. In turn, these names were further subdivided into 11 related family names: Toyohara was divided into Toyoharatsurane; Koma was divided into Komanoobito, Komanomiyasuko, Komasomebe, and Komahito; Kudara was divided into Kudaraason, Kudarako, Kudarao, Kudaraki, and Kudarauji; and Miyake was divided into Miyaketsurane. In a similar way, the Japanese Aak world has experienced repeated succession and severance of member families as a result of various social and political changes. The institutionalization of so-called Sanpogakuso defended gagaku during the ups and downs of succession and severance, and a large number of Sanpogakunin in Sanpogakuso were musicians with a Korean Peninsula line family name. In the modern era, since 1873, as gagaku was opened to people other than gakkge, and the system of transmission was no longer based on hereditary succession, musicians appeared who did not hail from a musician family, such as Horikawa Hisatami. As a result, gakunin who do not descend from gakkge have represented approximately half of the 26 gakunin in the Board of the Ceremonies of the Imperial Household Agency. Nonetheless, gakunin, including Ue Sanemichi, whose origins are in the Korean Peninsula, have remained active in the Japanese Aak world to the present day.

The purpose of this study is to vigorously investigate international developments in Korean Dance by domestic private dance troupes. The study is based on the performance records of private international dance troupes from the early 2000s, troupes that were active since 1980. The Chang Mu Dance Company and the Didim Dance Company are among Korea’s leading performers and feature dancers who play a prominent role in the globalization of Korea by presenting performances that captivate audiences around the world. The recent Korean Wave may also trace its origins to the popularity of these dance troupes.

This study begins with the question of what dances were performed in the Sa-ak during the Joseon Dynasty. The Sa-ak (賜樂) consisted of a director, musicians, female entertainers, boy dancers, and a Cheoyong masked dance group. The research objective is Jeongsanggonhoenangilok, which was written to celebrate Hoebang (回榜)’s 60th anniversary of passing the state examination by Jeong Won-yong(1783- 1873). The Joseon wangjo sillok (朝鮮王朝實錄) and Akhakgwebeom (樂學軌範) were also sources of background material, consisting of official records and literary works, that were subject to review. In terms of the rites of the Hoebang, on January 1, 1862, the king gave orders. In addition to feasting by the royal family, the government allowed citizens to also participate in festivals, many of which were held over the course of two months. Relative to the Sa-ak, the king established the first degree of Sa-ak, which consisted of a total of 52 people: 1 director, 36 musicians, 10 boy dancers, and 5 Cheoyong masked dancers. They performed for two months. In terms of the performances, the repertoires of the boy dancers were not recorded and remain unknown. While it was performed leisurely, it gave a feeling of flourishing and colorful. The female entertainers performed seven kinds of dances along with the Jangagwon orchestra: Cheoyong masked dance, sword dance, drum dance, pogulak (dancing ball into hole), seonyulak (dancing to play on the ship), and hyangbal heonseondo (dancing to give a long life peach). These repertoires were the most popular forms of jeongjae (呈才) in the late Joseon court. The Sa-ak was performed as part of a private feast. “Sa-ak” is an important keyword for understanding the culture of Korean dancing, because it spreads as “Sa-ak” in private space, and has the character of cultural circulation in which the enjoyment of royal court dance extends to individuals.

Byung-Choen Park’s Jindo Drum Dance is a masterpiece that strikes a balance between traditional Korean music and dance. As one of the most representative traditional dances, this dance has been loved and performed by many people for a long time. This study focuses on discovering the unique qualities of Byung-Choen Park’s Jindo Drum Dance by examining its movements through Laban Movement Analysis. Along with this analysis, this study also explores the special concepts and philosophical meanings embodied in the movements of the dance. As a Certified Laban Movement Analyst, the author analyzed the movements based on the dance film shown at Jin-do on November 7, 2008. The movement qualities of the Jindo Drum Dance are as follows. First, the dance employs both regular beats and irregular up-beats that cause disorder within order. Second, the limited torso movement while holding a drum enhances simultaneous and, consequently, harmonized arm and leg movements. Third, diverse arm and leg gestures draw curved and straight spatial designs by using peripheral and transverse spatial pathways. Fourth, in most performances, the dancer faces the front and right and left forward side directions based on the proscenium stage. Also, the diverse spatial directions of all body parts within a personal kinesphere create three-dimensional volumes with mixed diagonal lines within a cube. Fifth, the inner impulse of the movements demonstrates an Effort phrase, such as Action Drive, then Bound and Free Flow and Passion Drive, versus Remote or Mobile State. These Effort phrases reveal a unique Korean dance aesthetic, which consists of a harmonizing of Jeong Jung Dong-stability and mobility, as well as calm and active. Sixth, these five special qualities rely on a structure that includes principles of repetition. Repetitive movement qualities help audiences appreciate and evoke the unique Korean sentiment, Shin-myung. All of these movement qualities are well orchestrated in between two opposing poles, such as harmony and chaos, regular and irregular, soft and stiff, strong and weak, curved and straight, and feminine and masculine, which eventually imply the special Korean cultural concept of Jeong Jung Dong and Dong Jung Jeong, which is based on Yin-Yang philosophy.

Since the 1990s, Korea has developed into a full-fledged multicultural society with an increase of foreign workers, marriage immigrants, and defectors. Today, as multicultural education is emerging as a critical task for Korea in the 21st century, it is a crucial moment to examine what role Korea’s dance education plays in such a multicultural society. The purpose of this study is to search for an appropriate type of dance education, given Korea’s transition to a multicultural society. Thus, this study conducted comparative studies between the United States’ form of multicultural education and France’s intercultural education to identify the current status and problems of dance education in Korea. Based on this analysis, four ways in which intercultural education has been applied as an alternative to appropriate dance education in Korean multicultural society are presented. This study attempts to identify the similarities rather than the differences in intercultural dance education. Furthermore, children coming from immigrant families and students from ordinary households want to communicate with each other through various traditional dances. Therefore, intercultural dance education needs to be extended to immigrants as well as native citizens. Additionally, a community dance program that implements intercultural education for a large number of inhabitants and a small number of immigrants should be established. If dance education that emphasizes communication and mutual integration is formulated to meet the needs of the present age, it is expected that it will also be a great help toward creating a safe and healthy multicultural society. Through this study, the importance and value of dance in Korean multicultural society will be re-acknowledged, and the value of dance education for leading the way toward a 21st century multicultural society will be illustrated.