The Jeonju Daesaseumnori National Competition has a history of more than 300 years that originated from ‘Jeonju Tongincheong,’a contest established during the late Joseon dynasty. Despite the competition’s long history and tradition, it remains under-researched. Therefore, this study analyzes “Jeonju Daesaseup Dyeon”, one of the planned performances of the Jeonju Daesaseumnori Preservation Association. Based on the performance report of “Jeonju Daesaseup Dyeon,” the problems with this performance were identified and a revitalization plan was developed as follows. First, since the proportion of duplicate performers during the four-year performance accounts for more than 50%, opportunities for new winners to participate should be expanded. Second, since there are many fragmentary promotional activities, strategic promotional marketing and customer management are required. Third, since the similar performance content and format were repeated, improvements in the content of performance are necessary. It is difficult to generalize our recommendations based on only one case study. However, this study is important in that it offers insights on how to develop and revitalize the Jeonju Daesaseumnori Competition.

This study critically approaches the “Research-Based Content” series of the Society for Dance Documentation & History, which explores the historical, morphological, and artistic meaning and value of dance through research in the reconstruction of traditional and new dances, the art dances of the modern era. This research is based on expert interviews and opinions of critics. First, it allows for a flexible reconfiguration and recreation of dance beyond the boundaries of tradition. Second, it enables the documentation of the process and results, providing a formal record. Third, through the exchange between dance and theory, as well as dance and other fields, it offers an i nclusive e xperience. F ourth, i t allows f or t he p ursuit of n ew p erformance f orms beyond traditional and contemporary dance through editing and adaptation in compilation performances.Copyright issues, mutual interests, research adaptation, and time-consuming are among the things to consider.

Jeonju Daesaseupcheong(Jeonju Traditional Culture Building), founded in 2021, introduces a permanent performance system and presents traditional art performances every Saturday. With the annual number of visitors to Jeonju Hanok Village currently reaching 10 million, if the Jeonju Daesaseupcheong's permanent performance for tourists is activated, it will have infinite potential as a traditional art content and will become an unrivaled performance. This study has examined the current status of permanent performances on Saturdays and sought ways to enhance them based on a SWOT analysis of the Jeonju Daesaseupcheong’s performance report and Steering Committee’s activities. The results of the study are as follows. First, a promotional marketing strategy needs to be designed, targeting tourists in Hanok Village as main audiences for traditional art performances. Second, pansori-based Changgeuk(Traditional Korean opera) can be developed into a permanent performance repertoire. Third, a development of participatory content creation is suggested to encourage local residents’participation. This study makes some important contributions to suggesting the operational directions for the permanent Saturday performances of the Jeonju Daesaseupcheong.

The purpose of this study is to uncover the specific pro-Japanese actions of dancer Jo Taek-won (Japanese name Fukugawa Moto 福川元, 1907-1976), to improve our understanding of the history of Korean modern dance. Research was carried out through analysis of the Encyclopedia of the Pro-Japanese collaborator(2009), Report on the Truth of Pro-Japanese Anti-National Activities (2009), and visual data. First of all, I identified the collaborations with the Japanese Empire of Jo Taek-won. Jo Taek-won choreographed the representative pro-Japanese dance drama Buyeohoesanggok (1941.5.12.-16), and performed in other pro-Japanese contexts, including a number of Japanese military consolation performances for conscriptsand student soldiers. After liberation, Jo Taek-won took the lead in the dance world despite his pro-Japanese career, and after his death, a dance memorial stone produced through fundraising was erected. I argue that Jo Taek-won's artistic achievements and pro-Japanese activities should be taught together in dance education for later generations. In that sense, I suggested that an inscription containing the pro-Japanese history be added next to Jo Taek-won's dance memorial stone built at the National Theater of Korea.

This study examines the role and relationship of moving image among various art genres collaborating on dance performances. Six works by the Buripuri Dance Company, a private organization from 2004 to 2015, and 12 works by the Gangwon Provincial Dance Company, a professional organization, from 2017 to 2022, were analyzed 41 moving image clips were used in 18 dance performances. In this study, we collect and screen capture shots of 41 moving image clips out of 18 dance performace. We presented 12 expression methods that can distinguish the purpose and use cases of moving images from the perspective of stages, dancers, and audiences based on the contents commonly presented in six previous studies for work analysis. The 12 expression methods can distinguish the purpose and characteristics of the moving images for the dance performance. As a result, the most important reference point in the relationship between dance performances and Moving Images revealed in this study is the choreographer's intention. In addition, close collaboration between choreographers and video designers can not only improve the work's workability but also increase the understanding and immersion of the work from the audience's view. Therefore, this study is a records 20 years of choreographers and Moving image designers to create dance performances with high workmanship.

This study explored the case of creating and performing “Suncheon Bird Flower Dance: Hooded Crane Meets Flower” by adapting the story of a hooded crane in Suncheon. The researchers obtained the following results by collecting and qualitatively analyzing choreography notes, photos, videos, memos, dialogues and performance pamphlets from August to November 2021. First, from the point of view of ecological art, we carried out choreography work for flower dance and hooded crane gestures based on sympathetic movements. Second, it revealed the convergent aspects of performance characteristics especially by using the photos of the hooded cranes in accordance with the live music performance for the scenery of Suncheon Bay and adopting a tea ceremony performance. Third, to implement the proposed creative crane dance, this case showed the transformation process of traditional Hakyeonhwadaemu in the scenes where the hooded crane meets and hangs out with a flower girl (woman) who is blooming and becoming a lotus flower.

This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters — virtual theater, performance theater, and sound theater were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

This study explores the primary issues in international performing arts exchange in the post-COVID-19 era. In our in-depth interviews with dance artists, each with over eight years of experience in international exchange before and after the pandemic, we witnessed the challenges and opportunities posed by the current pandemic situation. We used phenomenological methods to analyze the interview data. Our analysis revealed four problems: (1) the gap between live performance and recorded online performance; (2) the lack of equitable collaboration between artists and arts administrators; (3) the lack of diverse approaches and forms of support; and (4) the increase in barriers to international performing arts exchange. Our findings suggest countermeasures, such as: (1) balanced support both for live performance and online performance; (2) more flexible communication between artists and administrators; (3) adoption of more diverse and creative modes of international exchange; and (4) provision of training and education to promote artists’ access to and mobility in international artistic exchange.

This research is about the performances of Korean immigrant art troupe, from Russia’s Vladivostok maritime province (Yonhaeju : Prismorsky Krai), that visited Korea in the early 1920s. Initially the performances aimed to raise funds to build churches and help Koreans in Russia suffering from economic difficulties due to prolonged droughts and the civil war in the aftermath of the Russian Revolution. However, the performances gained nationwide popularity, introducing Western folk music and dancing to Korea, which became the driving force in spreading a dance craze throughout the country. These performances significantly influenced the history of Korean modern dance, best exemplified by Cho Taek-Won who was first introduced to modern dance by the troupe’s performances and who became one of three new dance (Shinmuyong) pioneers. It is rare in the field of Diaspora Studies that cultural influences come from the outside the mother country, as in the case of the Korean-Russian art troupe. This research, from the perspective of the Diaspora (in the socio-cultural context of the troupe as they were caught between Russia’s civil war, in the period after the 1917 Revolution through 1922, and Korea under occupation by imperial Japan) shows the characteristics and meaning of the performances on the history of Korean modern dance, through analysis of performance activities and structures, member composition, the role of major leaders, and the troupe’s repertory of performances. At the same time, this study provides a foundation to understand the Korean Diaspora in Russia Like Lee Kang, Han Yong-Hun and Kwak Byuing-Gyu, the leaders of the Korean art troupe in Russia were leaders of the religious community who had participated in the Korean Independence Movement in the maritime province of Russia. Most of them were non-professionals and each group had a small number of members. Their art form followed “Estrada,” a typical people’s performing art which were popular folk dance touring performances in Russia at the time. In the history of modern dance in Korea, the significance of the performances of the Korean immigrant art troupe from Russia is as follows. First, as the initial overseas Korean performing arts group, they inspired Koreans to pay attention to the problems of overseas Koreans through the promotion of their visit to Korea; they helped build a national identity across borders. Secondly, this art troupe, as part of the Korean Diaspora, became a cultural bridge between people in Korea and Koreans in Russia. Lastly, the art troupe supported the Korean Independence Movement. However, the performances were forced to stop, for political reasons, by the birth of the Soviet Union on December 30, 1922. Research methods include literature and library research, field surveys, including existing literature in the National Russian Library of East Asian Literature, materials made from the Japanese Ministry of Foreign Affairs kept in the National Institute of Korean History, Dong-A Ilbo, Mae-il Shinnbo, and Sunbong, the Korean newspaper published in the maritime province of Russia.

To evaluate properly the performance of the dance education program, it is necessary to develop the evaluation model based on logical and efficient principles. In other words, it is needed to develop the evaluation model which can provide answers for key questions related to the performance of the dance education program. Then, the purpose of this study is to develop a systematic evaluation model in order to properly evaluate the dance educational program operated by Korea Arts & Service Education Service. To build up a systematic model for the performance measurement, the basic framework of the logic model is used, for the logic model has been widely considered to help evaluators design evaluation and performance measurement for various programs. The evaluation model derived in this study logically explains the structural relationship among key elements in the evaluation process, and provides performance indicators which make it possible to measure performance outcomes and impacts quantitatively. Using the suggested model, it is expected to find ways to improve the existing dance education program operated by Korea Arts & Service Education Service effectively and efficiently.