Various studies have been undertaken about Ryouou. Some, who focus on mask, argue that Ryouou was originated India. However, the existing view of its introduction from China is found to be more compelling when examining Kyoukunshou(敎訓抄) and other literature records. Meanwhile, performance records in Bugakuyouroku(舞楽要錄) was analyzed to study the image of Ryouou. Among the five main events recorded in Bugakuryoroku including the grand Buddhist meeting, Hakkou(八講), Tyoukingyoukou(朝覲行幸), Onga(御賀), and Sumaisechie(相撲節), it was found that Ryouou was performed most frequently in the first four events excluding Sumaisechie. In addition, it was found that Ryouou was most frequently performed followed by other music pieces such as Manzairaku(万歲楽), Sanju(散手), Daiheiraku(太平楽), Sokou(蘇合香) and Shunnoten(春鶯囀) followed Ryouou in performance frequency. What is noteworthy is that these music commonly praised, prayed and celebrated the exemplary rule of the emperor or the king and symbolically expressed the authority and dignity of the imperial family. Then, how was Ryouou perceived in Japan? Ryouou was not so different from the aforementioned music. As the motif of a hero in an turbulent era was added with the image of a dragon, it is concluded that Ryouou was perceived in Japan as a music that represent a combination of the dignity the congratulatory message, prayer for the imperial family, and the peaceful regime of the king.

The purpose of this study is to identify the core capabilities necessary for a dancer to have an expertise in, art education and to incorporate the capabilities along with a practical plan in order to educate professional dance educators. The results have shown that the arts educators need core competencies in the fields of emotional cognitive, creative convergence, problem solving, humanistic, cultural educational, artistic, and healing competencies. These core skills are necessary in order to develop competence necessary for the artistic, educational and research activities of a dancer. For this purpose, a practical plan in which dancers can follow comprises steps of reflecting on the dancers who are already in the dancing world, vitalizing a sharing system amongst art educators. It also requires dance art education standard specification. and guidelines setting as well as activation of educational content and globalization of traditional fusion culture.

The purpose of this research is to examine the Soviet ballet in the 20th century in terms of socialist realism and to reappraise them. First, I focused on the conditions of ballet in the Soviet era after the October Revolution; how the classical ballet managed to survive; what kinds of works attempted by young choreographers like Goleizovsky and Lopukhov. Then, I investigated that how the Soviet ballet works represented socialist realism. Socialist realism had been the principle of creation during Soviet regime since 1934. It was not only an artistic style but also a propagandistic ideology that promoted the view of Soviet life. Socialist realism tried to show ought to be, such as an optimistic Socialist utopia not the real social problems. This trend was is based on Marxist-Leninist aesthetics. The fundamental principles of this aesthetics consisted of “nationality(narodnosti’)”, “class system(klassovosti’)” and “partizanship(partinosti’)”. I analyzed four Soviet ballets: The Red Poppy (by Glière and Tikhomirov), The Flames of Paris (by Asafiev and Vainonen), Romeo and Juliet (by Prokofiev and Lavrovsky) and Spartacus (by Khachaturian and Grigorovich). The Red Poppy was considered as the first Soviet ballet because it dealt with the theme of soviet “contemporary” life. The Flames of Paris was full of energetic and vivid character dances which symbolized “nationality (narodnosti’)” of soviet aesthetics. “Drambalet” in 1930s’ was the alternative name of the socialist realism ballet, and Romeo and Juliet was called as the genuine drambalet. Also, Spartacus was provided as the model of Soviet ballet. In conclusion, this study examined the way how socialist realism was reflected in the Soviet ballets. The aesthetic values other than the ideology were also interpreted. Finally, the further steps of study about the Soviet ballet in the 20th century can be developed on the ground of history and aesthetics.

This paper examines the meaning of the traditional dance culture that Korean people, particularly focusing on the CIS(Commonwealth of Independent States) have preserved in other countries through the tradition of Korean traditional culture. Furthermore, using online press release and publications, the authors Xaim to study its meaning within the Korean dance history. The research on Korean diaspora culture and their traditional dance activities is being done rarely by the Korean Dance Department. It could be said that research about the Goryeo people living in the CIS is practically nonexistent. Currently, the tradition of the former Soviet art group has been revived and continues its tradition. The succession of traditional dance culture plays an important role in instilling a sense of bond and shared identity with Korean people the same. In CIS, several Goryeo delegates cultivate young dancers, but they are inheriting traditional dances through cultural exchanges through culture with Korea. Korean dancers should be interested in them because CIS dancers Goreyo dancers are thirsty for continuous exchange with Korea, such as performances and workshops. The CIS Goryeo people underwent a catastrophic change of history in the past 150-year history of immigration to Russia, the Soviet Union, and the CIS. They have followed the Soviet policy for survival but lived with dual characteristics that does not forget the tradition of their origin. They are forming a distinctive culture. Their activities indicate the possibility of expanding the area of Korean culture and arts. The exchange with them will go beyond sharing the tradition of Korean people, and will form a traditional network that can promote Korean culture even in regions where there is no exchange with Korea through the Goryeo people spreading across Eurasia in transnational countries. I think that this will contribute to expansion of Korean dance. In the future, Korean dancers will have to embrace Korean diaspora dance culture, and at the same time, I hope that Korean dance culture will spread to the world.

This is an essay about restore of court dance by searching at activiies of Kim Cheon-heung, a great master of Korean traditional dance and music and a silent film made in the 1931. To the research, Jeongjae; traditional court dance performed by Kim and the restoration procedure are reviewed. Also the contents and utilization values of which offered appropriateness and confidence of Kim's Jeongjae project to audience. As a result, it was found that core of the Jeongjae restoration was Kim Cheon-heung, not documents of Joseon Dynasty, record paintings; Uigwe[ 儀軌 ] and Holgi[ 笏記 ]. This is because Kim was existence figure who served as a successor of Jeongjae since late Joseon Dynasty containing modern court music institute, Yiwangjik Aakpu. has the existence of justification for the very reason that Kim is entitled to restore Jeongjae. The restoration of the dance is divided into three parts; first is steps to expand repertoire of Jeongjae and restore dancing, second is steps to restore each processes of court ritual, and last is steps to develop new creative dance drama by using Jeongjae. In the third case, historical documents, paintings and film such as are paalied as a materials of creation. Also, in the restoration process, it was suggested that the beginning of the restoration work was made through historical literature, such Uigwe[ 儀軌 ] and Holgi[ 笏記 ], but eventually completed by creation. There is a limit to the writing or painting of a series of movements with continuous movements. It is only possible to create a gap between the cracks in this discontinuity, and Kim used the dance he had learned through his lifetime as a tool for creativity. Now we need to concentrate more on the creative exploitation of dance with Kim's achievements. First, for the future development of dance, the importance of dance and cultural sharing of dance worlds is paramount. Second, the dance majors should be systematically educated by Jeongjae as well as in elementary, middle and high schools. Lastly, Jeongjae should be used as a free ingredient rather than as part of a rigid court culture. I expect to study in neighboring areas such as dance academia, classical music, aesthetics, and theater in the near future.

The research on "the data status and data use case of Simso Kim cheon-heung" started from the importance that the Kim Cheon-Heung Collection can be seen not only as an individual archive, but also as a manual of an extended artistic record and utilization method of performing arts. This study has a second purpose of sharing information to be a mediator of researches on Kim Cheonheung by grasping the current status of the materials and the cases that have been utilized. As a research method, I focus on the activities of the Korea Dance Resource Center, which I have participated in the past, and analyze event materials (event plan, programs, materials, books, etc.) Related site search. In addition, I analyze the case of reconstruction of Cheoyongrang. I expect that this study could be seen as a reference in the creation or reproduction of archiving.

This study compared Jeongjaemudo Holgi (musical scripts) with video materials of “Mugo” (group dance from the Goryeo period) and “JangsaengboyeonJimu” (court music from the Joseon period) performed in the 1980s at ‘Traditional Dance Presentation’ of National Gugak Center following Simso Kim Cheon-heung’s restoration of them. By doing so, the study sought to learn how he had restored the court dances. As a result, the study found following characteristics of “Mugo” and “JangsaengboyeonJimu”. First, the greetings were added both in the beginning and the end of the performance. Second, the songs of the dancers were simplified. Third, there was no big change in dance formation. Fourth, there were omissions or additions in the procedure of the dance. When he restored court dance in the 1980s, the restoration was built on what he learned from Music Academy of the Joseon Dynasty and a number of materials including Akji (music book) of Goryeosa, that is lustrated Text on Traditional Music and Holgi. His restoration of the court dances in the 1980s was affected by periodical circumstances and creative experiences during the 1950s. This study concluded that the court dances he restored was the extension of tradition and literature interpretation. This study identified his spirit from his restoration which was completed based on experience and aesthetic attitude. Rather than sticking to the original literature, he showed the essence of the court dances as a new form of art by putting it on stage. He desired to turn the court dance into a contemporary proscenium stage art and to elevate it to the modern art form. As such, his restoration of the court dances in the 1980s was a process which he embraced the change of the period. Thus, Kim Cheon-heung can be considered as an artist who demonstrated artistic capability encompassing tradition.

Joseon Muak is a black-and-white silent film produced on June 29, 1931. This film was made in the Japanese Government General of Korea. This was made under the name of King Yeongchin. It was made to be sent to the royal family in Tokyo. This study starts from the question of what the values and limitations of Joseon Muak are. This article applies a cultural perspective on the Joseon Muak. Seven dances were recorded on the film. The seven dance include Bongraeui, Bosangmu, Mugo, Jangsaeng boyongimu, Pogurak, Cheongmu, and Hayongryongmu. All these dances were performed by boys called mudong. The value of this the film is as follows. First, there is the material value the oldest image material of Jeongjae. Second, it shows a Japanese occupation version, hence holding the value in its content. Third, there is a transferable value in determining the trace and change. Fourth, it is aesthetically worthwhile to experience the aesthetic achievement. It has the following limitations. First of all, there is a limit of silent films that do not feature music. There also is the ultimate limitation of being built in a very abbreviated form.

This study focuses on strategies to promote new content based on storytelling with the case of in particular in order to make dance more mainstream. As the importance of intangible assets such as knowledge, creativity and information emerged in recent years, stories have been presented as a basic element of business to be commercialized. The story of Cheoyong is a leading example of where a narrative work that is latent in the subconscious of the public has been approached from various angles. To shed light on the artistic value of dance that uses the story of Cheoyong as its theme, this study reviews the contemporary patterns in which the story of Cheoyong has been adapted to dance performances. Moreover, , one of the major repertoires of the world’s leading ballet companies and one of the three major classical ballet works, is reviewed in terms of how dance content can be brought into the consciousness of mainstream culture. has also captured the theme from folklore of the West, just as in similar cases in the East. The storyline has become latent in the subconscious of the public that drives the art work, which then affected works in a wide array of art fields. Lastly, to review the universal value, the narrative structures of and were compared in terms of how stories can lead to a chain of reminders, thus shedding light on the trends in dance performe art.

This study attempted to examine teacher-dancer interaction, basic psychological needs and commitment to understand and provide knowledge in learning methods of university student majoring dance. In total, 337 students were recruited from the seoul and gyeonggi regional university student majoring dance. Statistical analyses(descriptive statistics, reliability test, correlations analysis, confirmatory factor analysis, structural equation model) were conducted using PASW 21.0, AMOS 18.0. Results revealed that teacher-dancer interaction positively predicted passion, as well as commitment. Basic psychological needs positively predicted commitment. In addition, basic psychological needs was partially mediated by teacher-dancer interaction on commitment in university student majoring dance.