This study is to find the significance of Seungmu(Buddhist dance) in Han Yeongsuk’s style by analyzing musical and choreographic characteristics of its Dangak movements, which distinguish itself from other styles of the Seungmu, in the light of exhilaration consisting of the basis of Korean culture. By this study, it is achieved to firm the identity of Seungmu in Han Yeongsuk’s style and determine its significance in the history of Korean traditional dance. The following is the result of this study. Firstly, Dangak is the movement that four of very fast three counts consist of one beat, played when a shaman has a dancing ritual for a spirit to possess the shaman in Seoul and Gyeonggi area. Dangak rooted in this shaman music is conservative in that the shaman music is the music for a spirit but at the same time also open and dynamic because it is professional music for audience in performance field. Dangak movements which accompaniment is based on such dynamic shaman music is most likely to bring exhilaration and amusement out by various melodies of performer’s impromptu playing and repetition of rhythm with fast speed and a number of beats. Secondly, in the dance of Dangak, the performance starts primarily with the dance spreading, winding, laying or turning Jangsam(the robe of Buddhist monk) or throwing it over the shoulder. Then performer takes the drumstick out of the robe and beats a drum, holding back the sleeve and dancing each motion with robe and drum harmonized. This can be said a master of dance mingling Jangsam and drum with beauty of balance, which has been developed further from the prior form of dancing that was with only Jangsam or onlydrum beating. As accompanied with such world of Dangak dance, dynamic of Dangak accompaniment with fast speed accelerates the elevating energy generated from the harmony of drum and Jangsam, creating aesthetic performance to sinmyeong(exhilarate). Moreover, it has no diagonal motion but makes the repetitive motions balancing at center, such as moving from center to the front or from the front to the back, so that it has satisfied the requirement to maximize strong and active energy. In other words, various dancing motions balancing at center including stepping forward and backward, turning and taking steps back are fitted with fast rhythm, lifting up the atmosphere of exhilaration gradually. Thirdly, considering Dangak movement of Seungmu in Han Yeongsuk’s style has been evolved into Dangak dance with drum beating and the motions using Jangsam harmonized, it deserves the significance for its unique identity. Furthermore, it is a representative dance as one of the best Korean traditional dances since it has embodied an aesthetic structure arousing exhilaration, the root of Korean culture, with its own composition elevating from slow rhythm of the monotonous rule in traditional music to fast one.

The purpose of this study was to examine the experiences of learning Korean dance among college students in America. The research questions how people of other cultures view changes in Korean dance through study, what beneficial changes occur, and how experiences are meaningful to them. To answer these questions, this study primarily relied on in-depth and semi-structured interviews with college students (4 Americans, 1 Chinese, and 1 African), in Massachusetts, who studied Korean traditional dance through a series of 19 classes, beginning on September 16th, 2014 and ending with a performance on March 3rd, 2015. All interviews were fully transcribed before the files were segmented and the subjects conceptualized using assigned codes. The results of this study are divided into three parts. First, before learning Korean dance, the research participants perceived it to be an interesting but unfamiliar dance, which they recognized from Korean Wave, and an elegant and beautiful dance, different from K-pop. After learning Korean dance, they perceived it to have flow and moderate strength. They believed that it allowed them to recognize their inner consciousness and be aware of their surroundings, facilitating communication with both. Participants also felt that the dance healed the spirit through deliberate movement, that it allowed the body’s energy to increase through concentration, that it coordinated the body’s movements organically, and that it symbolized the lives, philosophy, and respect for creation of the Korean people. Second, participants changed in four beneficial areas through study of Korean dance: 1) their strength, control, coordination, balance, and individual expression improved; 2) their awareness, memory, patience, focus, creativity, ability to communicate, sense of responsibility, mental coordination and control, and thoughtfulness improved; 3) they had a more positive attitude and perspective; and 4) they felt that they embodied the qualities of the Korean people, such as respect, elegance, and slowing down. Third, learning Korean dance was meaningful to the participants in the following four areas: 1) it was a challenge and an accomplishment, 2) they gained familiarity with Korean culture, 3) they became ambassadors for Korean culture, and 4) they felt both special and professional.

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.

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.

Han Sung Jun has been recognized as an extraordinary figure who collected traditional Korean dances and laid a foundation for systematic transmission during the late Chosun Dynasty and Japanese colonial period. Due to his significance, there have been ample researches in the past. However, there seemed to be some rooms for re-examination within the cultural contexts. The purpose of this study was to re-examine Han Sung Jun’s dance works, more specifically his social awareness as well as his dance perspective. Archives of his direct interviews were utilized for this task. Han Sung Jun, as an artist who experienced both feudal and colonial times, considered his life as a ‘shame.’ Based on this notion, he maintained his cultural identity during the abrupt changing times from the West dignity and accepted his fateful mission on traditional dance. Han Sung Jun focused on the principles of dance with open mindedness and holistic thoughts. Han Sung Jun’s three major dance works, ‘Seung Mu’, ‘Tae Pyung Mu’, and ‘Salpuri Chum’, were analyzed for better understanding using historical sources and Han Sung Jun’s thought. ‘Seung Mu’ was not just a form of religious dance but the crux of traditional dance cementing several cultures and ideologies. ‘Tae Pyung Mu’ could be viewed not only a dance for peaceful time and strong reign, but a dance for just society where all people were treated equal and lived an harmonious community. Lastly, ‘Salpuri Chum’ had the most liberal form and reflected the dancer’s emotion and could be regarded as the dance form with open possibilities.

Hallyangmu is one of folk dances, in which the original form and archetype of Korean dance have been well inherited and recorded. Since its original forms were recorded in Gyobang Gayo (1865) written by Jeong Hyeon-seok, Hallyangmu has been inherited in various forms. It was passed down by gisaeng in the enlightenment era and performed as theater dance by Han Seong-jun. Notably, it is a dance drama in which narrative structure has been well recorded. Hallyangmu, has been inherited mainly in Gyeonggi region and Yeongnam region. Hallyangmu danced by Gang Seon-yeong and Jang Hong-sim, who followed Han Seong-jun’s style, was designated as a cultural asset of Seoul City in 2014 and has been most standardized in terms of character composition and narrative structure. Hallyangmu in Han Seong-jun’s style largely consists of four sequences: story of a playboy and a maiden;of a Buddhist monk and a maiden;of a playboy and a female barkeeper; and the final sequence for resolution They make.a story with the combination of minimized unit structure and seek an open space in which the story can be expressed in movements. The characters in the dance are a playboy, a maiden, a Buddhist monk (dark faced Buddhist monk) and a female barkeeper. When the playboy is seen as a subject, the maiden as an object, and the monk as an opponent, the dance is expressed in the triangle contrast structure in which two male characters have conflicts to win love. However, the structure centers on the maiden without direct conflicts between the Buddhist monk and the playboy, and personalities and characters come to the surface through concepts of behaviors.

Hwangchangmu (黃昌舞) is a type of sword dance, which is based on a legend about Hwangchang Rang (黃昌郞), a member of the Silla Dynasty. The legend states that Hwangchang Rang (黃昌郞) bravely went to Baekje to slay the king with a sword. The dance is performed in commemoration of Hwangchang (黃昌 or 黃倡), who fought to the death for his country, Silla. During the Joseon Dynasty, Hwangchangmu was dance indigenous to the Gyeongju region. In the late Joseon period, Park Jong (朴琮 1735-1793) stated that Hwangchangmu had been passed down from the Silla Dynasty for nearly 1,000 years and people at that time thought that it was the best dance in the East. The dance, which had been performed at Gyeongju Gyobang during the Joseon Dynasty, was suspended during the period of Japanese colonization. The objective of this research is to establish a basic theoretical background that can be used to restore Hwangchangmu in a contemporary context. Particularly, it is part of an effort to restore Hwangchangmu, which is described as one of the ten dances from the Silla Dynasty (新羅十舞) in Donggyeongyurok (東京遊錄) written by Park Jong. Since its sentences are brief and the contents are rough, related materials are collected and analyzed from the Akbusi (樂府詩), which is a literary anthology that was written by many literary figures and originated during the Joseon Dynasty. The research suggests that the past dance culture of Gyeongju Gyobang should be examined. Also, the study of Hwangchangmu is expected to contribute to a newly illuminating and understanding of native art and culture in provincial regions.

This paper aims to find how to utilize the dance of Silla era by figuring out what are the characteristics of dance are based on Silla people’s life and how it had been used historically. The characteristics of dance based on Silla people’s life are classified as those of amateur and of expert. Amateurs danced in various fields of life. There was dancing entertainment during community labor which was led by women. A woman monk comported life’s worries which were not able to be avoided even by Buddhist priest by making humorous dances. Wonhyo announced the name of Buddha by Muaemu. Silla nobles maximized their pleasure in parties by dancing entertainment and made drinking parties fun by dancing penalty. A king of Silla danced and sang a song when life’s worries resolved. Hwarang displayed patriotism by a sword dance. There were three characteristics in expert’s dance. First, Silla set a high value on moderation and self-control by aiming for dance joyful but not dissipated and sad but not grievous. Second, people considered pleasure and enjoyment as a root of dance creation. Third, dance took a key role in performing arts of Silla. Silla dance was used in history of Goryeo and Joseon dynasty. Muaemu and Cheoyoungmu were consistently utilized in dance by amateurs and experts. Cheoyoungmu which was utilized by expert’s dance in Chosun dynasty was performed in events of royal family, ceremony, events in local government offices, and private rituals. Hwangchangnangmu was consistently utilized in Gyeongsang Provinces as considered as Silla dance. Currently Silla dance can be utilized in Gyeongju in varying purposes. It is expected to continue Silla people’s life dance in various ways even in the present times.

Hallyangmu is one of folk dances which shows social phenomena and discourses in the tradition process well. In the early days of development, it was a type of folk play that satirizes the society in each region, but as the age changed, it developed into a theater dance. Today, it is performed on stage as a masterpiece of male dancing by adding masculine fashion, excitement and acting. The important point in this systematic flow is that it has been refined as it enters the performing arts and has been handed down with its content and structure. This study focuses on the structuring of works that appear in it's stage-making process. Especially, The style of Kang Sun-young of Han Seong-jun's Hallyangmu which performed for the first time as a theater dance, conducts research focusing on the systematic aspects and performance aesthetics of Hallyangmu. It distinguished from Madang Noli and Gisaeng dance. The characters are four and the narrative structure is simplified, so there is not much movement, but the story progresses in a calm and calm manner while concentrating on the drama. The contents also show indirectly the space elements of the stage form by the character of the comic, humorous, satirical, and the phonetic movements focusing on the relationship among the characters.

This study examines the life and art of a choreographer Akram Khan, who has a dual identity of Bangladesh origin and British nationality, and choreographed about his cultural identity through his solo work Desh. For this purpose, this study analyzes related articles and interviews of preliminary researches, books and media both in Korea and abroad, reviews of critics, internet materials, and programs. As a result, first, he indirectly enumerated the surface of his wandering identity that does not know where to go and where to stand and created relationships in expressions of various characters coexisting in that space directing artistic representation of past, present, and virtual spaces. This dualism of diaspora empathy is the core theme of the work by forming the diaspora of Akram Khan with an emotion different from that of the first generation immigrants. Second, his personal interpretation of communication and exchange with different identities in a confused culture is projected in his work through a personal story that bears two cultures, Bangladesh and England. Especially, these works have been sublimated into artistic aspects, and fused with artists, music, lighting, set, and animation in other fields with a focus on dance in the works, and created a mise-en-scene that leads to artistic trends in the 21st century. Third, Kathak that he learned in his childhood has become the footstep of his art world. In particular, the acceptance of the narrative elements and movements of the Kathak has created his own language. In conclusion, Akram Khan's "identity" is the source of his artistic inspiration, and he respects the heterogeneity of his identity from his own perspective, this is sometimes different from the that of the other.