This study investigates the necessity of training methods in performing traditional Korean dances and suggests a possibility of using them. To this end, Bae Junghye's Korean dance training method was used to describe and analyze traditional dance movements. Bae Junghye’s method can be utilized for the following reasons. First, it helps dancers practice and strengthen movements during their training. Second, it can be appropriately applied depending on the purpose of movement expression. Third, it can be used for basic exercises before performing a dance. Fourth, systematic training of movements is possible through Bae Junghye’s Korean dance method.

This study aims to identify and analyze the structural elements of the Dosalpuri dance by exploring its intersections with the spiritual and artistic aspects of traditional shamanistic rituals, thereby enhancing the understanding of the foundational framework and value of traditional dance. To this end, the research investigated the value and characteristics of the dance based on literature and video materials, examining the embedded spiritual and artistic elements of shamanistic rituals through themes, costumes and props, rhythm, and dance movements. The theme of dosalpuri encompasses the psychological and religious significance of invoking and treating spirits well to obtain blessings, encapsulating the archetypal form of shamanistic rites through play and resolution. The white costume, resonating with grief and secrecy, symbolizes the prevention of misfortune, and the 3-meter-long white scarf is interpreted as the pathway from the divine time to human time. The rhythm retains the traditional patterns used in the Gyeonggi Dodang-gut [Gyeonggi Province shamanic ritual]. The dance movements include daruchigi, mokjeotnoreum, and yongsawi, adhering to the formats of inviting, entertaining, and sending off spirits.

In contemporary K-pop there seems to be a rise in the amount of womanist cultural products that are part of a wave of home-grown, Korean-style “screen feminism” that must operate under semiotic cover, using the plausible deniability of the bukae in the name of art to not be accused of being a western-style “feminist.” I posit the notion of a “complaisant agency” that, like “docile agency” encompasses the meaning of willingly consenting to acquiring skills or the requisite tools needed in a field in which one cannot mount formal, visible resistance, while yet appearing to actively flourish and emotionally comply to standards and behaviors in the field. It is through the deceptive cover of “complaisant agency” that performers can stage cultural productions that are seemingly complicit in master narratives of subjugation but yet contain Trojan horses that explode with the potential to mount semiotic resistance and become a means to transgress. Counter to narratives that ascribe complicitly in the disempowerment of women to K-pop, in this paper I identify how some K-pop artists are engaged in the production of a new vision around women in Korean society.

This study analyzes the impact of stage devices used in Bicheonmu, a creative dance work, on its story development process. The study examines Dunhuang murals and flying figures, and analyzes the props-first used in Ailian’s 1954 Bicheonmu performance, as well as the stage installations repeatedly represented in various Bicheonmu performances until recently. This paper is based on the analysis of literature and images related to Bicheonmu, in addition to the performance videos and photos archived from 1951 to 2021. Since 1954, the stage installations of Bicheonmu have been constantly improved for a more realistic performance, and thus the story of the dance has also undergone changes. Various stage devices used in Bicheonmu, such as flying cars, steel wires, electronic screens, flying devices, and underwater, create a spectacular scene. The paper, which focuses on the different kinds of stage equipment and props used in Bicheonmu, will contribute to offering a reasonable development plan for the transmission and innovation of the dance.

The purpose of this paper is to explore the relationship between Bak Geum-seul's "Chumdongjak" movement principles and Somatics. It is also to examine the movement principles of Bak Geum-seul’s "Chumdongjak" in relation to the theory of the Five-Elements: Wood, Fire, Earth, Metal, and Water. Through the embodied experience in Bak Geum-seul's basic dance moves, the results of the study are as follows: First, one of Bak Geum-seul's movement principles is to enable a dancer to recognize and be aware of their body, which is similar to a principle of somatics that focuses on body awareness. Second, Bak Geum-seul's ‘upper body’ movements can be represented as Wood and Fire. Bak Geum-seul’s ‘middle body’ movements can be described as Earth while her ‘lower body’ movements can be symbolized as Metal and Water according to the theory of the Five Elements. The study suggests what happens inside of our bodies can be signaled through emotions. I hope that this study, which emphasizes the importance of expressing internal emotions through dance, may promote a healthy and harmonious lifestyle.

Nine Songs is one of Lin Hwai-min’s most important works. As one of the features of Nine Songs, it combines traditional Chinese culture with western modern dance techniques and accepts the way of thinking of modern dance to create a fusion of traditional Chinese culture. In this study, the work Nine Songs serves as the research object, and various perspectives are used to analyze the cultural background and the fusion of East and West in this work. In addition to serving as a valuable reference for the study of the fusion of traditional dance with modern one in East Asia, this research is of great significance in expressing the aesthetic fusion of Chinese and Western dance in order to promote modern dance development.

This study considers methods develop a ballet educator training program that can improve ballet education in South Korea, where technique-focused training leads to physical and mental injuries and lack of artistry. A training program model is developed for ballet educators based on the philosophy of somatic dance/movement education, which integrates dimensions of body, mind, and spirit. The framework of the program was formulated by exploring the educational goals and principles of ISMETA, as well as factors such as ‘knowledge’, ‘autonomy’, and ‘peer networks’, presented in the international survey on education, TALIS. Then, we compared and analyzed domestic and international ballet educator training programs to select essential elements based upon the aforementioned three aspects. We made detailed programs such as ‘somatic dance/movement theory, movement anatomy and physiological dynamics, movement analysis, somatic ballet teaching method, dance education theory, and developmental psychology’ for the knowledge factor, ‘reflective practice’ for the autonomy, and finally ‘pedagogic workshop’ for the peer networks.

In studying dance history of Korea, diverse patterns of dance are discovered in murals, historical remains, and royal rites. Then, how should dances contained in visual materials be understood? This study aims to examine the method of analyzing dance depicted in paintings to research the history of dance. To that end, Panofsky’s iconological method, used in researching the history of fine art, was used to examine dances depicted in murals. Research was conducted in the following procedure. First, the concept and principle of iconology, focused on the historical background of iconography and iconology, were reviewed, and recent iconological arguments were examined. Second, how to apply the iconological method to dance was discussed. Third, through Panofsky’s iconological gradual analysis method, the iconography of the right-hand mural in Goguryeo Jangcheon No. 1 Tomb’s Anterior Chamber was described and analyzed to define its meaning. The findings of this study are outlined as follows. According to previous iconological description, the iconography of dance depicted in the right-hand mural in Jangcheon No. 1 Tomb’s Anterior Chamber features a Goguryeo person performing both-arm dance and lotus dance to the accompaniment of a string instrument. According to the iconological analysis, the dancer performs Buddhist-faith funeral dance. Such ritual dance contains the cult of wishing the dead person’s soul will well reach the nether world, as well as the wish that the dead person will lead a happy life in the nether world. According to the iconological interpretation, Goguryeo sleeve dance changed and developed into today’s Hansam, Jangsam and other diverse sleeve dances. Goguryeo dance contains the essential life meaning, and although the themes and concepts of dance may vary according to times and works, all dances are the expression of life and the heart of wishing for a good life; thus, the life, the essence of Goguryeo, was analyzed as the universal essence and inherent meaning of Korean dance. This study is significant in that it prepared a framework to research dances depicted in paintings, and proved that iconology can contribute to diverse analyses in researching the history of dance. Iconological research on dances illustrated in visual materials is expected to continue.

The purpose of this research is to explore if the Feldenkrais Method(ATM), a leading approach of the somatics field, is positively applicable to Royal Court Martial Arts. Three research questions were prepared to achieve the purpose of this study. As a research method, experiential description based on phenomenology was employed. The researchers of this study applied the ATM to a practical field of Royal Court Martial Arts, Pyung Soo Beop in particular for 100 days. Making the training logs, the researcher described them in a lingually representative way. The result of analysis and interpretation of the somatic data were as follows. First, what appeared on Sensory Awareness Training during the process of learning the ATM of the Feldenkrais Method, were largely categorized into three features. (1) ‘intentional exploration’-the process of recognizing intention through movement, (2) ‘relaxation and communication’- the process of delivering the intention of the movement and (3) ‘integration and arrangement’- a status that looks for and recovers a definite intention of movement. Secondly, the answers of the second research questions, were characterized by the following five features: exploration, concentration, coordination, integration, and energy. (1) ‘exploration’ is the first step to discover an accurate intention at the starting point of a motion. (2) ‘concentration’ is the step to recognize and understand the definite intention of a motion. (3) coordination is the step to recognize given information through the process of concentration, and then, to continue to look for the most effective way through a ‘coordination’ of organic movements. (4) ‘integration’ is the step to relax, transit, be aligned, and be recovered through the most efficient movement. (5) ‘ki energy’ is the last one, which not sequential, overall, so it is distinguished form the order of the other steps. Thirdly, the findings to the third research questions were as followings. (1) breathing was improved and changed to be easy, comfortable, stable, and deep. (2) coordination and balance were harmoniously improved. (3) through organic harmony of movements, the body’s alignment changed into a balancing and stable state. In conclusion, this study showed that Royal Court Martial Arts applied by ATM could improve performer’s sensory awareness ability in general, integrating function and structure by intentional movement, through which training of the Martial Arts could be improve in quality.

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.