This research attempted to clarify trends of Korean dances during the 1960s by analyzing dance video data from the National Gugak Center’s Garfias Collection. The Garfias Collection is an archive of Korean performing arts that was donated by American music anthropologist Robert Garfias in 2019. In 1966, Garfias stayed in Korea for several months and recorded Korean traditional performing arts through photographs and videos. In this collection, there are 14 video clips of Korean dances of the 1960s, which can be classified into three sections: court dance, Buddhist dance, and folk dance. Various literature surveys and expert interview were conducted to investigate the background and activity status of the performers at the time, as well as the costumes, dance movements and the composition patterns of each dance. In the case of court dance, they were performed before systematic restoration based on literature had been carried out, and it was found that the progress was faster and contained more creative elements than the current one. In Buddhist dance, it has proceeded almost identically to what is currently being performed, but it can be said that the pace of progression is faster and the individuality of the dancer stands out. Finally, in folk dance, it provided an opportunity to gain a new perspective on the formation of traditional dance since the video showed a very different aspect from the dance that is currently being transmitted.

The Korean-Chinese Janggo dance is a symbolic national art of the Korean-Chinese and a symbol of the Korean-Chinese culture. This study aims to research how Korean traditional culture, Janggo dance, developed and settled into the Korean-Chinese Janggo dance in China. To this end, we examine the changes of the Korean-Chinese Janggo dance by period and the characteristics of its choreography for the succession and development of the Korean-Chinese culture. First, the Korean-Chinese dancers pursued the development of national dance for succession and development of their culture, and also they attempted projects to discover, organize, and recreate the Korean-Chinese dance based on different perspective and ideas from China. Second, the Korean-Chinese Janggo dance has developed, reflecting the changes and development of The Korean-Chinese Janggo dance by period. Third, the artistic feature of the Korean-Chinese Janggo dance emphasizes the beauty of the dancer's body and expresses the harmony of the dancer's gestures as well as expressions with the Janggo dance and music. We hope that this paper would devote itself to the development of the Korean-Chinese Janggo dance and be used as a basis for future research.

The purpose of this study was to analyze the current state of studies related to perfectionism in the field of domestic dance and to discuss the direction of future research. The research was conducted by searching the academic search sites such as RISS and KISS, and a total of 69 studies on perfectionism were analyzed in terms of the publishing institution, publication year, research subjects, research methods, concept of perfectionism, variables related to research subject. Content analysis and frequency analysis were used as analysis methods, and the following results were obtained. First, theses and dissertations were conducted in 16 universities in total, and the journals were published in 17 journals. Second, the researches of perfectionism have been steadily studied since the 2000s. Third, Most of the studies conducted on the students of higher education courses majoring in dance. Fourth, Most of the studies were quantitative researches, so it seems necessary to carry out various research methods and research designs. Fifth, Most of the studies used the multidimensional concept of perfectionism and suggested the necessity of research on the development of scales for the domestic dance majors. Sixth, as a result of analyzing the trend of research based on the variables related to the theme, the most of independent variables were personality variables, the most of mediator variables were coping and moderating behavior variables, and the most of dependent variables were positive emotional variables. According to the results, research tasks were suggested an academic effort to try various research topics and subjects, research methods, and research designs by expanding the biased research area. It also implies that research should be activated through a creative approach and an in-depth understanding of the propensity of perfectionism.

This study investigated the confluence and transformation perspectives of Hakmu-Yeonhwadae (鶴舞-蓮花臺, Crane Dance-Lotus Flower Dance) by taking a new perspective. The researcher analyzed the contents of the literature by searching for existing papers and historical data such as Uigwe (儀軌, Official Documents of Royal Events), Jeongjaemudoholgi (呈才舞蹈笏記, Choreography of Court Dance), and the iconography of historical pictures of royal events. The main results are as follows. First, Hakmu (鶴舞, Crane Dance) combined with Yeonhwadae (蓮花臺, Lotus Flower Dance) turned out to be performed in a way that directed two younger girl dancers to appear from two Lotus boxes in the texts of Gyobang-gayo (敎坊歌謠, Gyobang Song) and Hak-Yeonhwadae-Cheoyongmu-Hapseol (鶴蓮花臺處容舞合設, Convergence of Crane, Lotus Flower and Cheoyong[a man for preventing epidemics] Dance). Second, it was confirmed that the creative transformation patterns were historically revealed along with attempting to attune slight differentiations of Hakmu-Yeonhwadae. Third, Hakmu and Yeonhwadae had been performed separately and consecutively at royal court banquets since 1877 after King Jeongjo’s reign. Fourth, it was noted that there were several changes in the Jidangpan (池塘板, plate with artificial pond) and Lotus boxes in the late Joseon Dynasty. Fifth, the converged parts between Hakmu and Yeonhwadae were reinterpreted considering the symbolic and ecological meanings of cranes and lotuses from the modern perspectives for creating a new dance version.

This study aims to examine dance exhibitions as a way of putting the dance archival theory into practice. For this, I explore performance theories which are relevant to a dance archive and look into two dance exhibitions, Judson Dance Theater: The Work Is Never Done by MoMA and Known Future by SeMA, which reflect the new performance archival theories. These exhibitions have three features. First, the present is one of vital matters in the exhibition. Second, tangible and intangible archive are acceptable. Third, visitor’s action is a part of exhibition. These features show a dance exhibition can be a way of putting the dance archival theory into practice. In addition, these two exhibitions show that a dance exhibition is an effective way to hand down a valuable dance to next generation, because less time and space constraints than a performance can make more people have diverse experience about dance. I suggest that a dance exhibition is a good way of putting dance archival theory into practice.

This study aims to explore the critical approach toward media in contemporary dance, which avoids conventional understanding of dance and artistic media. After reviewing important contexts and debates concerning contemporary dance, this study discuss the matter of its ambiguous boundaries and expansion through the concept of intermediality.

The idea of performance and dance with its ephemeral nature and media being used to preserve it, has constituted a conventional understanding of its temporality. However in contemporary dance, the archive expresses the request for extended temporality that enables the simultaneous existence of what is remaining, what is captured, and what is progressing in the performance. In addition, these archives expand into living spaces so that performances can lead to theoretical, educational, or political discourses, and function as a mediating space where heterogeneous entities such as art, virtual reality, and real life meet.

Moreover through this study, I wish to illuminate the expanded understanding of media in contemporary choreography as a criticism on previous media conventions, by introducing certain examples of autobiographical performance pieces in which the performer tells his or her own story. These works show the blurred boundaries among verbal languages, documents, and corporeal performance. They also bring participants in communication with performers, who can be understood as a physical archive of memories and experiences, roaming the ambiguous space inbetween reality and arts. Accordingly, an autobiographical performance creates an intermediality that allows the body-archive to experience and construct the virtual identity of the body in a fragmented manner.

This study aims to examine the educational development of Choi Seunghee’s training system, particularly with a focus on the development patterns of Korean-Chinese dance education textbooks and characteristics of Korean-Chinese dance education textbooks at Yanbian University in China, which has inherited and developed Korean-Chinese dance based on Choi Seunghees training system.

The characteristics of Yanbian University’s Korean-Chinese dance education textbooks examined in this study are as follows. First, it is based on the method of organizing educational textbooks, which was identified in Choi Seunghee’s training system. Second, the contents that were not covered by Choi Seunghee’s training system have been comprehensively adopted into the textbooks, which thus came to be loaded with abundant educational content. Third, a training system is currently established focusing on the basics of women’s dance movements.

Yanbian University’s Korean-Chinese dance education was able to create educational textbooks that could support the current logical training system due to the Korean-Chinese dance educators’ devotion to research on Korean-Chinese dance education, which was based on the principle of succession and development.

The purpose of this study is to find ways to improve the negative psychological state of the non-disabled siblings of disabled children. To this end, this study examines dance/movement therapy group counseling program conducted for their experiencing physical activities and various expressions.

This study was carried out with 18 participants from various facilities for the disabled in the metropolitan area, who agreed to participate in the program. After dividing them into an experimental group and a control group, the program was applied to eight people who could participate in the experimental group. Before and after the program, a survey was conducted consisting of a self-esteem scale, a self-expression scale, and a perceived competence scale. On the basis of the collected data, the average and standard deviation of the pre- and post-test of the experimental group and the control group were investigated using the SPSS 25.0 program. In addition, differences between groups and differences before and after the test were verified through independent sample t-tests and corresponding sample t-tests, respectively. As a result, the dance/movement therapy group counseling program turned out to be effective in improving self-esteem, self-expression, and perceived competence of the non-disabled siblings of disabled children.

This study shows that the dance/movement therapy group counseling programs with active physical activities and interactions with others help them experience not only verbal-language but also non-verbal expressions and realize their maximum capacity of physical activity. In conclusion, it is summarized that they were able to improve their self-esteem through those bodily experiences.

The purpose of this article is to investigate the dance practiced in private spaces during the Joseon dynasty by analyzing paintings and literature. This study is the third part of a series of research exploring paintings depicting dances in various performance venues in the Joseon dynasty. While the first two researches were about dances performed in royal palaces and in public places respectively, this article analyzes paintings and literature of dances in private spaces in the following three ways.

First, dances performed in the personal social gatherings were divided into three types according to the subject: dances performed at social gatherings for the elderly, reunions of officials who passed the national civil service examination in the same year, and social gatherings for the middle class. These dances were performed to strengthen the community spirit or to appreciate the performances of professional young male dancers called mudong.

Second, dances performed to celebrate the longevity of parents on their birthdays are analyzed. In such events, the mother was considered the most important character as well as audience, and the concept of “filial piety” was emphasized in the “Son’s Dance.”

Finally, dances conducted in private folk venues are examined. Some of these paintings portray a son who dances as a “performer” to celebrate his parents’ diamond wedding anniversary. Other paintings depict a clown dancing in a three-day parade where a person who passed the national civil service examination visits his examiners, high-ranking senior officials, and his relatives.

This study explores a case of hooded crane dance performance that deals with the ecological environmental characteristics. In addition to choreographing movements and gestures, the subject of hooded crane performance was featured with theatrical dialogues. The data collection included choreography notes, photos, videos, memos, dialogues, and performance pamphlets collected twice in Nantes and Suncheon city between May and August 2019. The qualitative analysis of the data were presented in the following ways.

First, by reinterpreting the story of the wounded hooded crane (Doori) found in Suncheon the performance expressed the ecological life and adversity of the hooded crane from the opposing viewpoints between the ecological environment and humans. Second, the reactions of spectators suggested that the hooded crane dancing performance turned out to make them feel more interested in nature and ecology. Third, due to the real story of Doori, the performance played a role in reminding the meaning of the performance (i.e., ecological sensibility) while the locals appreciated the story in a friendly way. This study indicated the parts to be supplemented in future performances and expandability by attempting performances in the ecological environment of Suncheon Bay (tidal flats, etc.).