The period from the late 1930s through the 1940s was a tumultuous time in China because of two devastating wars—the War of Resistance Against Japan (1937-1945) and the Chinese Civil War (1945-1949). This essay examines the impact these wars had on concert dance, at the time still a newly emerging art form in China, by examining the case of Liang Lun 梁倫 (b. 1921), a dancer from Guangdong who began his dance career during the 1940s. Although Liang is widely considered to be one of the founding figures of modern Chinese dance, he has received almost no attention in the English language scholarship. This essay thus serves as a preliminary examination of Liang’s early choreographic repertoire, as well as a reflection on the ways in which Liang’s experiences reflect broader trends in Chinese dance during the wartime period.

This paper explores the concept of 'Performing Body on Stage' based on the choreographic work Glory which considers the critical point of view on system and body in relation to Korean sociocultural context. Glory focuses on the physical experience of Korean male dancers, experiencing the military service and dance competitions, questions the system recreated in the body, and asks "is the body free in dance?" To shape this into work, the dancer’s reflective testimonies are used as the materials of choreography, and the conceptualized and contextualized structure is developed into the form of ‘choreographic documentary’. In this paper, I refer Judith Butler’s proposal on ‘vulnerability and resistance’ to construct the frame of this study. I analyze the choreographic approach to the dancer’s body and how a ‘vulnerable body’ can be transformed into a ‘political subject’ through the choreographer’s practice in Glory. When the apparatus which are invisible but attached to the body are visualized on stage, the body exposes the social and political form. In this sense, finding the index of precarity associated with physical vulnerability was not only the process of choreography but also becoming subject in this work. Having physical autonomy in dance is that one actualizes the potential of artistic creation latent in individual diversity, not the military body identity, which moves in an interminable manner with the same identity. This artistic act of the choreographer is political as well as aesthetic in terms of re-asking about the nature of the dance and contemporary arts at the same time.

This paper looks at Formosa (2017), the last full-length dance work by the founder and artistic director of Cloud Gate Dance Theatre of Taiwan, Lin Hwai-min. As a former writer and trained journalist, he is a socially aware choreographer who expresses his concern for his society through dance. I first contextualize his oeuvre with his earlier pieces based on the theme of Taiwan such as: Legacy (1978), Portrait of the Families (1997), White Water & Dust (2014 double bill), and Rice (2013), leading up to this full-length multi-media production. I also explain the hybridized Cloud Gate corporeal training from the East (e.g. taiji daoyin, Chinese martial arts) and the West (e.g. ballet, Martha Graham modern dance technique), as I unravel how Lin Hwai-min executes his citizenship through choreography.

This case study research aimed to analysis the dance program to heal the unstable emotions of teenagers who experience school violent. The dance program was held at the A Welfare Center in Seoul for 10 sessions, 100 minutes per week. The program has improved the participants' unstable emotions and negative self-image. Participants want to express their feelings in a healthy way and find the positivity inherent in them. And they tried to improve their social skills by improving self-expression. After finishing the program, participants recovered the violence, depression and low self-esteem caused by wounds to the body and mind. It is meaningful that it has a positive effect on healthy relationships by learning how to communicate with other friends.

This study aims to reorganize the chronology of the deceased Kim Suk-ja's life as a dancer, the holder of the National Intangible Cultural Asset No. 97, Salpuri dance. In particular, the chronologies of Kim's dancing activities presented in the pamphlets of her memorial concert which has been held for 10 years after her death show inconsistency and errors. Therefore, this study attempts to correct them. She had carved a place for herself as a traditional dancer while doing activities as a Shamanic dancer in Seoul since 1976. As a result, part of her chronology that displayed the schedules of her activities since then was made public by newspapers and therefore is reliable. On the other hand, information on dancing-related activities from the Japanese colonial era to the 1960s by Kim Suk-ja, who was born in 1927, is unclear. Her chronology during this period does not sufficiently reflect her dancing activities or provides incorrect information. Therefore, this study corrects and reorganizes her aspects of learning dances during her early years and information on her activities in Daejeon from historical contexts.

The contemporary notion of choreography as a structural system of human movements in diverse contexts becomes radically challenged in the context of digital performance. Digital performance works that do not necessarily have human dancers, but instead present digital images and sounds can hardly be seen as choreographic practices in an orthodox way. In this article, I primarily investigated how the notion of choreography is reframed in the context of digital performance by delving into the entanglement of choreography with a computational system. In creating an human-computer interface, choreographers shed light on how the human subject is perceived, cognized and embodied through the entanglement of its corporeal body and the machine. Then, their choreographic sensibilities substantiated in the interface design process do not constitute embodied knowledge of the human body as a biological organism, but that of the posthuman body as an integrated being of the biological and the mechanical. In this sense, I argue that postchoreography as a mode of choreography for the posthuman necessitates the understanding of how a machine perceives a physical input and acts upon a virtual world.

The purpose of this study is to interpret One Mind's Two Aspects and Three Greatness view in the Muae-mu of Won-Hyo as the same principle in dance, and to examine the essence and the underlying meanings of its phenomena. To this end, research focuses on One Mind's Two Aspects and Three Greatness of Won-Hyo through Awakening of Faith in the Mahayana. The implications for Muae-mu as a representation of One Mind are as follows. First, Muae-mu makes representation of One Mind as a part of phenomena and essence. One Mind's Two Aspects Muae-mu is a phenomenon to which the principles of body, form, and action are applied. Second, Muae-mu is a communication and healing dance as a means of popularization through art. Third, the ultimate goal of Muae-mu is to deepen insights of human beings and to return to their inherent nature. Fourth, it seeks concrete actions on a daily basis through the practice of One Mind. Fifth, it encompasses 'magnetization' and 'indigenization' based on Won-Hyo's enlightenment. Sixth, the aesthetic value in the art can be identified with human value in that it represents the human mind and philosophy. Dance is not an idea but a lived dance of living. This study suggests that the sincere and essential mission of dance is to vitalize the sense of living within the ever-changing world and to make a whole-person language of the body that combines the substance and the phenomena.

This research analyzes Chun-Heung Kim's Seungmu, which he learnd from Sung-Joon Han, illuminates the world of traditional dance by Chun-Heung Kim, and identifies the legacy of Sung-Joon Han through a comparative analysis between Kim's dance and Young-Sook Han's Seungmu. The results are as follows. According to the comparative analysis of two Seungmu, Chun-Heung Kim's Seungmu is characterized to follow the basic outline of Sung-Joon Han's Seungmu, but its steps are more dynamic and it creates the simple world with artless movement of monk's robe. Thus, folk dance by Chun-Heung Kim through the Seungmu represents the world that are shaped by combination of dynamic exhilaration through steps, the beauty of simplicity of the movement with monk's robe without exaggeration, and the beauty of moderation.

The purpose of this study was to examine the relationship among the involvements, purchase decision making, repurchase intention of cultural goods by Social Network Service(SNS). To this end, the survey was conducted through distributing questionnaires to the people who purchased cultural goods by SNS. In total, 284 valid responses were collected. The results were as followings. First, situational involvement and enduring involvement of cultural goods consumer had a significant influence on problem recognition, information search, and alternative evaluation of purchase decision making. Second, problem recognition, information search, and alternative evaluation of purchase decision making had a significant influence on repurchase intention. Third, situational involvement and enduring involvement of cultural goods consumer had not a significant influence on repurchase intention. Thus, it is necessary to use SNS marketing to prepare a plan to increase the involvement of consumers in the sale of cultural goods.

This study mainly focuses on audience development of dance festivals by applying 7Ps Marketing Mix in the Seoul Dance Festival, which is the first dance festival in Korea. The whole performances in the 39th Seoul Dance Festival(2018. 10. 22 - 12. 04) were sold out, and the festival was evaluated as one of the most successful dance festivals in its history. 7Ps Marketing Mix is the set of marketing tools consisting of Product, Price, Place, Promotion, People, Physical Evidence and Process. According to this analysis, the festival has succeeded because of its qualified programing, aggressive promotion, well-equiped venues, suitable environment, well-trained staff and reasonable ticket prices. To enhance its popularity for the dance festivals, the festival shall collaborate other dance groups which would open their shows during the festival period, manage specified SNS contents, plan the outdoor events before and after the main shows to set the festive mood, make the specialized ticket prices for the festival, manage volunteers more effectively and adopt e-ticket reservation system. This study aims to be a basic marketing resource for the future audiences development in the Korean dance festivals and the dance field.