The aim of this research is to understand the dancing culture of the Joseon Dynasty period(1392～1910) by examining dancing pictures in multi-level. The objects of the analysis are 22 pictures of dancing in royal space, 37 pictures if one counts copies and different editions. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically speaking, the pictures of dancing in royal space had been drawn from Jungjong(1488～1544, r.1506~1544) to Gojong(1852~1919, r.1863~1907) in Joseon Dynasty. In terms of space, royal palace is the space where the royal family and officials enjoyed dancing. In terms of audience-performer, there are only male audiences in dancing pictures from Jungjong to Yeongjo(1694~1776, r.1724~1776) but female audiences appear from Jeongjo(1572~1800, r.1776~1800). The performers in the dancing pictures are various like female dancers entertainer called as ginyeo, boy dancers called as mudong, cheoyong dancers, and even officials. In later times, the dancing ginyeo becames noticeable. It has been proven by the pictures of dancing officials that the officials were dancing in the party with a king. In terms of the way of drawing dancing, it has been started from Jeongjo that multiple jeongjae appear in one scene as if they are performed simultaneously. In Soonjo(1790~1834, r.1800~1834), dance painting accurately reflected the performance. All the dances performed were pictured. Gradually, however, during the Korean Empire, only some of the dances performed were painted. Popular dance was drawn frequently. I suggest that the importance of dance in record pictures of royal space is directly proportional to the importance of dance in real culture.

This study probes how the notions of choreography has formed and changed in relation to dance notation. Two manuscripts, not by accident identically titled, are examined— Chorégraphie by Raoul-Auger Feuillet and Choreographie by Rudolf von Lavan—with regard to their respective understandings of the principles of dance and their socio-political contexts. This study brings Feuillet and Laban into a historical perspective beyond the previous literatures that solely focused on either of them. In Feuillet, choreography was defined as the composition of dance by means of notation. The space for dance was identified as flat and rectangular one, which led to the principles of ballet with the emphasis on geometrical shapes, establishing the two-dimensional plasticity as the aesthetic norm of the time. The act of composing dance by notating movement accompanied the emergence of the choreographer-subject which objectifies bodies of dancers, and thus the invention and development of dance notation was supported by the absolute monarchy out of its interest in the absolutistic body available to be controlled and disciplined. Laban developed the concept of choreography as the notation of forms and qualities of movement in space harmony. Laban theorized scales and rings in crystal space as new principles of movement, founding three-dimensional plasticity with its unceasing mobility as the aesthetic norm of modern dance. Complying with modernist ideal of progress and efficiency, Laban also applied his principles to choreograph movements of industrial bodies. Addressing manuscripts of Feuillet and Laban, and their contribution to the historical formation of the notions of choreography, this study unfolds the concepts of choreography in multilateral contexts, complementing and surpassing the prevalent, literal understanding of its meaning as dance-writing, which will provide the cornerstone for elucidating the historicity of choreography leading up to the present.

This paper focuses on North Korean restaurants as a medium of culture and tourism. Prior to the analytical discussion, the researcher first summarizes the concept of 'Munyae', which North Korea uses instead of culture, in order to understand the basic historical background of North Korean art policy. The researcher understands dance and art in North Korea as a tool to express the representative ideology of the revolution, as well as the performances, which operate inside the North Korean restaurants, serve as an important means to secure government funds for North Korean authorities. Based on the understanding of the North Korean art background, this paper examines the dual suppression mechanisms presented by the North Korean authorities, and discusses the effects of body politics on restaurant performers. According to the results of this study, the North Korea interprets their restaurant in Thailand as a transformative device to hide the function of the restaurant, which is used as a medium of political support for the communist country while placing it in the tourism industry category. In addition, the North Korea suppresses the activities of female employees, who are the actual operators and performers, in the overseas North Korean restaurants, while allowing performances coming from other countries. This dual power mechanism manipulates the female performers' bodies that can flexibly cope with other cultures that have been excluded from them, and at the same time expects their bodies tamed with socialist ideology.

In the contemporary era, the dance arts no longer adhere to a representational mode. A work is not a carrier of a story, and the dancers act out the existence, rather than represent characters and situations. If contemporary dance no longer depends on the narrative, what is the reality of the thing that communicates through the contemporary dance arts, flows between the performer and the audience erasing the boundary, thereby mutually changes the subjectivity of the two parties? What is displayed in the contemporary dance is the corporeality of mind-body unity contained by the existing individuals. This study aims to add the thickness of thought through the literary study based on art history and philosophy regarding the above questions and answers. Gilles Deleuze, who focuses on the artistic works with the contemporary sensibilities, says that contemporary art as ‘the block of sensation’ outside of the representational system directly provides the tangible attribute of intensity, thereby revealing the real. In dance that does not represent something else, the dancing body itself is the part of the material universe. As a part of the reality is the reality, the dancing body is the reality, and dance is the movement itself of reality. As Deleuze says, if contemporary art is the transcript of the real that emerges from the gap created by the dislocation from the representational system of the phenomenal world, contemporary dance is the most direct mode of the contemporary art. Diluting narrative, a dance with the corporeality is something the real itself, that cannot be captured by the linguistic dimension.

This paper aims to develop the content of local dance through music and dance in the Baekje period. First of all, it is necessary to research articles on musical instruments during the period. According to precedent research, there are either nine or eight types of wind instruments: jeok, so, saeng, ji, dopipilul, makmok, kak, wu, and baekje-saenghwang; seven types of string instruments: pa, wanham(3 strings), konghoo, sukonghoo, keum, jaeng, and baekje 8 hyonkeum; and two types of percussion: ko and yoko. These instruments number eighteen or seventeen in total, and the tones are clear and elegant. Today there are A-ak and dance in the ancestral ritual for Woongjin Baekje five kings as the content of music and dance in the Baekje period. The resource of them was brought from A-ak of Kook-jo-o-re-ui written 800 years after the Baekje period. However, the time period between them is too distant, and several instruments among A-ak had not existed in the Baekje period. There are few Korean references which can be traced back to the Baekje dance. Therefore we could should refer to Japanese dances such as Sinsoriko and Onintei, created by people a man from Baekje and originated in Baekje. Those dances are still practiced and passed down to new generations in Japan, thus we can develop the content of the Baekje court dance incorporating elements of the two Japanese dances. The Baekje court dance can be choreographed with some constraints. Music should be played by three to five musicians, dancers should consist of two to six performers, and the range of movements is also guessed. This content will be different from established works and unique, if it is utilized for the pre-ceremony dance of the Baekje ancestral ritual, or for performances about Baekje.