The purpose of this study is to investigate the characteristics of discourse act that was unfolded in the process of modern Korean dance securing its significance as performing arts. In Korea, the first-half of the twentieth century witnessed the formation of new culture based on a clash between modern Western civilization that was accepted and the autogenous modern consciousness. The appearance of newspapers, in particular, provided ample opportunities for the reading public to participate in the society and gave birth to the modern consciousness of sharing one's ideas with others. This happened in the field of dance from various perspectives including reviews in the criticism format after the appreciation of dance performances, critiques, dance theories, and new ideas of the traditional dance. There was no establishment of proper dance criticism in Korea during the modern period, however there were meaningful acts to create dance discourses from diverse perspectives and enhance the aesthetic modernity of the public.

This article investigates the documentary recorda of Kyoukunshou (教訓抄, a musical book of gagaku) focusing on Batou (抜頭, one of the dances to belong of the Togaku). The record of Batou in Kyoukunshou has three following characteristics. First, it describes the history of Bugaku (舞楽, Japanese court dance) in such a manner that a comprehensive understanding of Batou from the its origin to its transfer and acceptance to Japan, actual performance, and transmission is possible. Second, it enables the grasping of theory, practice, and handing down situations of performances at a glance, and particularly in regard to the handing down of the performance, very detailed records have remained such that you can view the handing down chart of the tradition. Third, Japan's unique records, such as new motifs different from those found in Chinese records, are also found. This can be said to represent the process of transformation that has occurred while Tougaku (唐楽, style of gagaku based on Tang-era Chinese music and ancient Asia song and dance) from China has been settled down as Tougaku of Japan. Grasping the aspect of literature records in Kyoukunshou is like building a foundation for researching arts books written later. This study is significant in that it provided a clue for the study of Japanese Art books.

This study aims to examine the aesthetic resonance principle of Korean dance by analyzing how the place of Korean dance in the Middle Ages was influenced by the effect of dance through the ‘ki (氣, energy)’ theory by philosopher Choi Han-gi (1803~1879). As a research method, records related to dance were selected from historical literature, and Choi Han-gi's books were used as main texts, and related discourses were referenced. The original texts of the old documents used online databases with major old documents such as the National History Compilation Committee database, and keywords were limited to ‘mu (巫, shaman)’, ‘mu (舞, dance)’, and ‘chum (춤, dance)’. The results of the study are as follows. First, Korean dance was organically adapted to the spacetime of traditional society. Second, it was confirmed that the space of life was entangled as a place of dance in the traditional society. Third, it was possible to aesthetically explain that the principle of resonance in a special space called “sai (사이, between)” among dance places in traditional society was in ‘communication’. The main keywords of this study ―placeness, resonance, singi (神氣, primal energy), communication― are concepts that share the meanings of resonance as the nature of dance. The keywords are expected to contribute a academic and practical direction for today's dance theory.

The purpose of this study was to investigate the significance of Mu-ui (舞義, ritual of dance) by Seong Gyeong-rin in dance history and its value as Holgi (笏記, scroll document). This study identified the characteristics of the Japanese colonial period Jangsaengboyeonjimu (長生寶宴之舞, Dance of longevity) by comparing the record in Mu-ui to that in Jeongjaemudogholgi (呈才舞蹈笏記, scroll document of court dances). First, the costumes of dancers were five colors, and second, the song Changsha expresses simplification and degraded expression. Third, there was a slight difference in composition at the end. Fourth, in the dance, the order of the nine-sided dance was all the same, so there was no big change, but dance details were added to Mu-ui or little details were recorded. Fifth, there was a change in notation, but most of them had the same meaning or dancing. Those findings indicate that Mu-ui by Seong Gyeong-rin has the following values and significance in the dance history. First, it holds its value as a Holgi of Yiwangjikaakbu (李王 職雅樂部, the downgrated insitution of Jangakwon). Second, it offers information about the changes of court dance by Yiwangjikaakbu during Japanese colonial period. Finally, it enables the reproduction of Yiwangjikaakbu’s court dance by Mu-ui.

This study inquires into the name of the Dutbeki dance Ulsan folk people’s traditional dance. This study investigates the meaning of the name of “Dutbeki,” various Dutbaki plays that were fused into other folk dances, and finally the independently transferred Dutbeki play itself. The prior literatures and the process officially confirm the name of ‘Dutbeki’. In 2016, the Ulsan Metropolitan City conducted a complete survey of intangible cultural heritages and officially recognized the Dutbeki of the region as “Ulsan Dutbeki”. This was based on the relevant regulation of the Intangible Cultural Heritage Survey of Ulsan Metropolitan City that formally confirmed the name as “Ulsan Dutbeki”. In this study the name is suggested as the “Ulsan Dutbeki Chum” to honor the tradition of the dance naming. This contributes to establish the foundation for preserving intangible cultural heritages and inheriting traditional culture in Ulsan Metropolitan City.

This study aims to analyze dance moves of Munmu and Mumu, two kinds of Ilmu of Jongmyojerye (the royal ancestral rites music) in order to identify significance and symbolism of the dance moves. The findings show that "Gyeonpa" was a dance move that was always included in 11 pieces of Botaepyeong(music to praise the cultural achievements of Jeseon's kings) and Jeongdaeeop(Music to extols the military attainments of Jeseon's kings) each. In Munmu, dancers would collect the energy, which has been circulated and spread before their faces with the knees bending and stretching and two hands open sideways each of the pieces by performing dance moves of spreading, gathering, turning, and repeating in most cases. After this Gyeonpa, the dancers expresses symbolically the wish for Botaepyeong, which achieves unity between the Heaven and Earth and hopes for a reign of peace for many years, in attitudes of respect and humility. In Mumu, they would maintain the Gyeonpa move of erecting a wooden sword(spear) straight and raising it high during long beats through the arm movement with no knee bending and stretching or perform Hyeokjeong with power and discipline 12 times, expressing Uideok(virtue) symbolically. The dance move of Gyeonpa is representative of the unique nature of Jongmyoilmu. It is important that the moves of spreading Mundeok in the combination of Yak and Jeok, circulation of yin and yang, and harmony of Ye and Ak would connect to flexible and soft dance moves of Haphyung in Munmu. In Mumu, it is important to maximize the solemn mood by erecting the wooden sword(spear) straight and stopping it with moves of embodying the achievements of distinguished military service with discipline.

Sanjo dance is a dance that was created with the origin of Sanjo music. Sanjo Dance was performed firstly in 1942 by Choi Seung-hee. From the 1950s to the 1970s Sinmuyoung (新舞踊, New Dance) dancers had presented the Sanjo dances. In the 1980s and around, the Sanjo dance did not draw much attention from the entire dance industry. From the 1990s to the present, the first Sanjo Dance was re-examined, and dancers newly presented various Sanjo dances. To summarize the aspects of Sanjo dance, first the Sinmuyoung dancers began to create it, and a number of the new dance-style Sanjo dances were created. In the 2000s, it has also been made in the traditional dance field. Second, after using Gayageum Sanjo by dancers, the musical instruments became more diversified, including the iron gayageum, geomungo, and haegeum, and the Sinawi format was also tried. Third, the Sanjo dance has various sub-titles, which reflect a certain motif or sense of subject matter of creation. However, Sanjo dances in the context of traditional dance tend to form a dance in the composition and flow of Sanjo music. Fourth, you can see creativity, improvisation and diversity in Sanjo dance. Creativity and improvisation are characteristics of Sanjo music, which gave rise to the diversity of Sanjo dance. The Sanjo dances developed in this flow can be divided into three contexts. These are the Sinmuyoung style, the traditional dance style, the mix of Sinmuyoung and traditional dance style.

This study focuses on the sociocultural and artistical interrelations between the "Korean Dance" and two of the most popular non-textual forms of mass media - commercial sound recordings (gramophone records) and films (feature films, newsreels, documentaries) - between the 1930s and 1960s. First, this study focuses on how gramophone records were employed through the Korean dance recitals during this period, as well as on what type of music was used in these recitals. Second, this paper examines the films documenting "Korean Dance" shot and produced during the time period in question, and discusses how these films were produced and how it has impacted establishing the "Korean Dance" through its mass distribution. By doing so, this paper attempts to provide a preliminary suggestion on how the "Korean Dance" has made its transitions over time, as well as an opportunity to historically understand the actual manifestation of "Korean dance" during its earlier days of a modern form of performing arts. It can be strongly argued that a strong sense of a historical parallel is revealed between the historic development of the Korean Dance in the early 20th century Korea and the development of the notion of Korean national culture, as both came into their modern manifestation through a series of constant interactions between Korean premodern cultures and the modern foreign cultures.

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.

This study analyzed whether there are differences in the evaluation of the attributes of dance performance audiences, satisfaction, and intention to revisit according to the lifestyle type. The main research results of the empirical analysis are as follows. First, it was found that the importance of the performance attribute differs according to the lifestyle of the dance performance audience. It was found that social relational and conservative culture types value performance hall facilities and accessibility, and open-minded groups regard performance hall facilities and performance groups' brands as important. Second, open-minded audiences were found to have the highest satisfaction and willingness to see the performance, and social relation-type audiences were the lowest. Third, it was found that the stage facilities of the concert hall and the brand factor of the performing organization had a positive effect on the satisfaction of dance performances. These results suggest that advertising and promotion strategies for performances should be different according to the lifestyle of the dance performance audience.