This study examines the relationships between Rudolf von Laban and Nazi of German from 1933 to 1937. This study began to answer the question that ‘Did Laban have any relationship with Nazi?’. The result is as follows. Laban joined the Nazi and cooperated, propaganda in 1930 and rewarded with social status, economical support, and got a chance to performance, festivals, lectures organized by Nazi. The suggestions based on the results of this study are as follows. First, It is need to a new 'historical understandings'about Laban's relationship with Nazi and processing of refuge is needed. He joined the Nazi,assisted in their propaganda activities, and received salary from German Empire Culture Center. Also, he remained a propaganda official in late 1937. Second, There was two perspectives about the characteristic of relationship between Laban and Nazi: voluntary and coercive. Laban showed a little ambiguous attitude to Nazi in regards to his arts and propaganda's loyalty. Third, we need various perspectives about the relationships of Laban and Nazi and further study of effect of Laban's art and art activities.

The purpose of this study was to investigate the effect of job stress of professional dancers on organizational effectiveness. Specifically, we were investigated the effect of job stress on job satisfaction, organizational commitment (affective, normative, continuance), and turnover intention in organizational effectiveness. This study will be an effective way to improve the organizational performance. The data collection was conducted in professional dancers working in domestic professional dance groups such as National Ballet. A total of 300 questionnaires were distributed. A total of 257 questionnaires were used in the final analysis, except for 43 questionnaires that were inappropriate for the questionnaire response. Sampling was based on the convenience sampling method and the questionnaire was done by self-filling method. To analyze this study, we used IBM PASW 22.0 statistical package. The results of the analysis were as follows. First, interpersonal relationship had a significant effect on job satisfaction among job stress of professional dancers. Second, interpersonal relationship and external environment had significant influence on affective commitment and normative commitment among job stress of professional dancers. Third, surrounding expectation had significant influence on turnover intention during job stress of professional dancers. In conclusion, it was suggested that eliminating the job stress of professional dancers was important for enhancing organizational performance and organizational effectiveness.

The purpose of this study was to examine and highlight Choi Hyeon’s dance, performed during his life as part of Korea’s dance history, in terms of its position in the art world. Choi Hyeon was born in Yeongdo, Busan on December 6, 1929 and passed away from liver cancer at the age of 78 on July 8, 2002. He entered the dance world in 1946 as a pupil of Kim Hae-Rang (金海郞) and learned the basics of dancing by emulating the teacher for eight years. His dancing career developed after his arrival at Seoul. Choi Hyeon was one of the most influential dancers between the 1950s and 1980s, and he acted as a choreographer and dancer, showing originality based on tradition, from the 1970s until his death in the 2000s. He also continued to teach dance from the 1950s until his death. Choi Hyeon broadly classified his works into large-scale dance dramas and small-scale dance works. His leading dance dramas included (National Musical Company of Korea, 1974), (National Dance Company of Korea, 1979), (National Dance Company of Korea, 1981), (Seoul Performing Arts Company, 1987), (Seoul Metropolitan Dance Theatre, 1992), (Seoul Performing Arts Company, 1999), and (Choi Hyeon Dance Performance, 2001). His leading small-scale dance works included (1976), (1993), (1994), and (1999). Choi Hyeon's dance world was broadly understood within the genre of Korea’s creative dance, but technically, it was a successful case of an advanced style in the genre of new dance. Choi Hyeon left his imprint on Korea’s dance history, while leading his life in the modern era, by his successful creation and performance of his works based on his theory of new dance-oriented reasoning among Korea’s various styles of creative dance.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.

This study aims to reorganize the chronology of the deceased Kim Suk-ja's life as a dancer, the holder of the National Intangible Cultural Asset No. 97, Salpuri dance. In particular, the chronologies of Kim's dancing activities presented in the pamphlets of her memorial concert which has been held for 10 years after her death show inconsistency and errors. Therefore, this study attempts to correct them. She had carved a place for herself as a traditional dancer while doing activities as a Shamanic dancer in Seoul since 1976. As a result, part of her chronology that displayed the schedules of her activities since then was made public by newspapers and therefore is reliable. On the other hand, information on dancing-related activities from the Japanese colonial era to the 1960s by Kim Suk-ja, who was born in 1927, is unclear. Her chronology during this period does not sufficiently reflect her dancing activities or provides incorrect information. Therefore, this study corrects and reorganizes her aspects of learning dances during her early years and information on her activities in Daejeon from historical contexts.

The purpose of this study was to investigate the effects of professional dancers' achievement goal orientation and self-management on their dance commitment. Subjects of the study were professional dancers working in one of the national, provincial, and municipal professional dance organizations located in Seoul, Kyeonggi-do, Incheon, Gangwon-do and Chungcheong-do, as of 2019. For the data collection, questionnaires based on self-administration were distributed to the study population. 325 samples were collected and used for the data analysis. Corelation analysis and multiple regression analysis were employed, and each hypothesis was tested at the a=.05 level of significance. Through these research methods and procedures, the following results were derived: First, self orientation of achievement goal orientation showed to have a significant effect on all of the subsidiary factors of self-management: mental management, personal relations, training management and physical management. Task orientation was found to have significant influence on mental management, and physical management. Second, self orientation of achievement goal orientation appeared to have significant influence on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. However, task orientation did not show any meaningful effect on any of the subsidiary factors of self-management. Third, subfactors like training management, personal relations and mental management of self-management turned out to have a meaningful effect on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. These results proved that professional dancers' achievement goal orientation and self-management were the factors that were significantly related to dance commitment. Therefore, as the higher and better the professional dancers' achievement goal orientation and self management are, the better their commitment to dance become, it will lead dancers to higher degree of perfection of dance performance and consequently bring high quality of performance to their audience.

The purpose of the current study was to investigate the relationship among body composition, bone mineral density(BMD), career and eating attitude in Korean traditional dancers. Seventy three dance major female college students were recruited in the current study. The body composition variables such as body mass index, percent body fat, total body water, fat free mass and basal metabolism rate were assessed. Data were collected from Anorexia Bulimia Inventory(ABI) questionnaire and BMD was measured using Quantitative ultrasound. T-score was used as an index of BMD. Analysis of confirmatory factor, multiple correlation, multiple regression, and Dubin Watson test were applied for the statistical analysis using SPSS 23.0 windows. There was statistically significant correlation between dietary control and BMD of eating attitude negatively and depressed mood about Career positively(p<0.05). In the result of regression analysis, dietary control and depressed mood were the coefficient determination in BMD and Career. In conclusion, the current study suggested that the perception of healthy body weight was required for dance major female college students.

The aim of this research is to understand the dance culture in the government office space of the Joseon Dynasty (1392 ~ 1910). The objects of the analysis are 32 pictures of dancing in local government office space. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically, pictures of dancing in local government space appeared from 1580 to 1796, geographically from Pyeongando to Jeju Island. Most of the dance genres shown in the pictures were jeongjae. The performers in the pictures of dancing included female dancing entertainers called as ginyeo, boy dancers called as mudong, cheoyong dancers, and clowns also. Furthermore, the pictures revealed that a government officer and old men invited at the banquet danced together in the local government office space. This was because dancing was recognized as something wonderful that only a peaceful time allowed. In the Joseon Dynasty, the government office space was the place where people could enjoy dancing.