This study suggested the effect and implication of the emotionalisation programme as an education or a training tool for enhancing face expression of performers utilising FACS which is based on facial muscle anatomy and muscle behaviour. For this purpose, this study limited the body range of the training from head to neck, showing how this programme could be applied to performers. In order to verify the effectiveness of the programme, this study measured the pre-to-post test of the WLEIS scale on emotional intelligence. In addition, observational logs, self-report journals, and in-depth interview data were collected to examine the psychological and physical changes of the participants. The collected data were analysed quantitatively using statistical analysis package IBM SPSS Statistics 22 as well as qualitative analysis using NVivo 12 software. As a result of WLEIS, the average before and after the programme showed a statistically significant difference. According to the qualitative result, participants began to observe self and others, and was able to perceive two aspects of universal and personal emotion. By putting the emotional expression of the other persons on own faces of participants, the clearer standard of the facial muscle behaviour was acquired, their facial impression was changed positively, and the new emotional arousal was brought up. Therefore, it discovered the possibilities of this emotionalisation programme not only to extend to the general public who improve their face expression for emotional purpose but also to be a foundation of the face training.

The purpose of this research is to provide insights into the essence and value of dance education by describing the teaching experiences through an auto- ethnographic method. It is difficult to find researches on the overall teaching experience ranging from early childhood education to college education. Having experienced child dance class, elementary school dance class, and college movement class, I seek to find the desirable education and its significance for students while reflecting on dance teaching method and its meanings. Students get interested in their body parts, and they learn how to communicate and share their feelings with others through dance education. The performance experiences as a dance teacher are as follows. First, a natural culture at home or a home atmosphere has formed through learning-by-playing. Second, my first part-time class has led to my lifelong workplace and developed functionally. Third, I have found that a strict discipline in a dance class could give difficulties for students to express freedom. Fourth, a dance class that gives joy and pleasure changes students’perception of dance, makes them more interested in their bodies, and have more confidence with dance. In conclusion, I have realized that a dance class enables students to widely understand various emotions expressed by the body, discover ‘self’ through this process, and it can be developed into a means of communication to form a community spirit.

This study focused on the fact that both dance and calligraphy have a common formal concept with harmony, balance, and rhythmical beauty as the long-standing traditional forms of art in the Eastern world. First, the study examined the relationship between dance and calligraphy by looking at old literature and successfully identified the common ‘formal concept of beauty’ they shared. During the process of understanding calligraphy, the study noticed that the emotions which occurred while moving the brush were not much different from the emotions that arose when the dancer moved their body to express a certain movement. It was found that the contents and the emotions that occurred during the creation phase of dancing and calligraphy were almost identical. Instead, the sole difference was that calligraphy used the movement of the brush, while dancing utilized the movement of the body and the eyes. This suggested that dance and calligraphy shared the concept of beauty of ‘form, harmony, and control.’ With this result, the study suggested that the art of calligraphy and dancing had a possibility to be performed together in various ways under harmony by creating an environment that allowed artistic cooperation.

With the prosperity of Chinese folk dance creations, especially the development of the dance performances represented by the Lotus Awards and Tao Li Cup, the technical skills of national folk dances are further promoted to a new height. Its development, however, generates two problems. First of all, the technical characteristics of styles are diminishing and tend tocome be homogeneous. Second, the pursuit of techniques with ultra-high difficulties makes the creative vocabularies hollow and devoid of content and typicality. This paper adopts the methods of investigation, observation and literature research to analyze the related technical skills in the creation of folk dances in Chinese dance circles. The purpose is to emphasize that the creation of Chinese folk dances should be traced back to their origins, and to bring forth new ideas in three aspects: stylization, emotionalization and artistry, starting from the characteristics of technical skills. In order to break through, its form should be more epitomous in culture and more typical in aesthetics. Only in this way can the technical skills of Chinese folk dances become truly prosperous.

This study, with the Nuo ceremony in Lengshuijiang, Hunan, China as the subject, discusses its cultural hybridity, shaped by dynamic interaction between elite culture of the ruling class and folk culture of the working class. The author argues that the resulting hybridity is formed through homogenizing force of the elite culture and localizing capability of the folk culture. To carry out the research, the author adopts three methodologies: fieldwork, in-depth interview and literature review. From the perspective of dual cultural framework, the author observes the dilemma faced by the Nuo ceremony in a historical and social context. Unlike the prevailing tendency of separating wu (shamanism) from dao (Taoism), by former researches this paper integrates wu and dao, thereby interpreting the hybrid nature of the Nuo ceremony. Through fieldwork, the author studies the conflict and reconciliation between the high and folk cultures as projected in the cultural hybridity of the Nuo ceremony. The analysis suggests that the Lengshuijiang Nuo ceremony is a hybrid culture stemming from the combination of orthodox religion and folk shamanism during a specific historical period. It is neither a pure high culture of the state nor a pure folk culture. Rather, it is a reconstructed “third culture”. On a macro level, the author observes China’s dual cultural framework from the perspectives of both the elite culture and folk culture. On a micro level, the authors reveals, through the integration of the wu and dao elements in the Lengshuijiang Nuo ceremony, the cultural hybridity as a result of homogenization and localization, which Abstract 298 제53호is the significance of the study.

Copyright refers to the exclusive and monopolistic right, being given to the creator of creative works that includes literary, artistic or musical ones. According to the present copyright law of South Korea, dance is categorized as a kind of theatrical works, but it is necessary to discuss whether or not such a classification is appropriate. Of course, both a dance and a theatrical work can be classified into performance arts as the two genres are most closely adjacent to each other. Since dance and play have their distinct characteristics as unique genres, however, the application of a copyright should be made from different perspectives. This study aims to examine the importance of establishing professional and concrete regulations with regard to the dance works and discussing what to consider for that purpose. One of the foremost and top priority concerns for the dance works in the nation is that the domestic dance community should come up with its own copyright regulations independent from the theatrical works. As the present copyright law for the theatrical works does not consider the unique characteristics of dance such as choreography, it is hard for the domestic dance community to properly claim and exercise its rights. Therefore, independent copyright regulations are urgently needed to protect the specialized rights for the dance works apart from the theatrical works. As part of the efforts to better protect the rights for the dance works, it is also necessary to submit the storyboard of choreography or the video clips to help meet the requirements of the copyright law. It is necessary to reestablish the proper regulations for the copyright for dance after having technically and concretely examined the characteristics of dances performed in the nation and ultimately to work for the revision of the current copyright law for dance.

This study summarizes issues related to copyright issues around dance or choreography in Korea. As a result of analyzing 42 previous studies, which was searched at RISS(Research Information Sharing Services), three major issues were aroused. First, the concept of dance copyright should be defined more clearly, and the requirements for recognition of creativity in dance works should be clarified. Second, in order to activate dance copyright protection, it is necessary to fix the ephemeral phenomena of dance in tangible media. Third, dance copyright is classified as a dramatic works in Korean Copyright Act, but the term is not appropriate. The main contents of this discussion reviews copyright law and precedents of each country, including Korea. Based on these discussions, a suggested improvement plan for the protection of dance copyright is proposed.

Recently the copyright issue in the traditional cultural field is being discussed due to the copyright claim on traditional dance. The copyright norms is unfamiliar to those who are engaged in traditional cultural fields in Korea. Despite this unfamiliarity, the number of cases in which copyright law is applied to the field of traditional culture is increasing. The copyright cases that have occurred in the field of literary works such as books in the past are now spreading to art, music, and dance. In this article, I have discussed some issues in judging the creativity and substantial similarity of cultural heritage-based works through representative cases of art works and musical works related to intangible cultural heritage. The copyright system is based on the assumption that a specific author has exclusive copyright for the work. On the other hand, many cultural heritages presuppose that ‘communities or groups’ have created, maintained and propagated them, and it is not easy to identify copyright holders because their boundaries are ambiguous. In addition, in order to establish an exclusive right such as copyright, a clear boundary must be set for the work, which is an object of rights, but the boundary of the traditional culture that has continuously changed from the past is not clear. Therefore, I suggest the open source model as an alternative to exclusive copyright.

This study aims to explore the performativity of dramaturgy with in the field of expanded choreography. I look into the concepts of expanded choreography after the 1990s and discuss Jeroen Peeters’s dramaturgy in the respect of performativity. The characteristics of expanded choreography are as follow. First, choreographers are capable of producing knowledge rather than an artifact. The knowledge that can be produced is not rigid but more comprehensive. Second, the choreographers carry out experimental choreography with the paradigm of interdisciplinary and meta-media performing arts. They All the collaborators can be considered as an author which used to be given to only choreographers. Third, many choreographers attempt to explore the relationship between the body and society. They consider the social engaging of dance into the choreography. To examine how dramaturgs elaborate their own performativity in the area of expanded choreography, I have chosen the physical dramaturgy of Jeroen Peeters. I found results as below. First, a theory can be discovered in the choreographic practice. Materials can be chosen not only body gestures and movements but also other media, philosophy, and theories. Second, the dramaturg should approach to the process of choreography with empirical research. The practice of dramaturgy is involved in embodied thinking, in structuring, and performative operation of whole process. Third, the role of dramaturgy is performatively changed in every individual work. In contrast with the classical dramaturgy, the new dramaturgy in contemporary dance not deal with the abstraction of knowledge but practice in the way of performativity.

Korean traditional dance is a well-established traditional art as years go by. Recently, Korean traditional dances have seen renewed popularity, but in the process, new interpretations and transformations have eroded the historical and spiritual values inherited in these traditional dances. This study is to rediscover these historical and spiritual values by re-examining the life and dance philosophy of Han Sung-Jun (韓成俊, 1874-1941), and how these had been handed down to Han Youn-sook and Lee Ae-ju. The research reviews existing literature with comprehensive and in-depth analysis. Han Sung-Jun, who came from a long line of dance artists who inherited and developed dance practices reflecting the unique identity of the Korean people, believed that it was through dancing that the human body could truly manifest its natural vitality and emphasized patient learning and training. Han Sung-jun's philosophy was passed on to his granddaughter, Han Young-sook (韓英淑, 1920-1989), who emphasized the exclusion of foreign imitation and of exaggeration by utilizing the spontaneous characteristics of Korean dance. She particularly criticized the blind following/copying of foreign dances and emphasized a focus on traditional Korean dances. Lee Ae-ju (李愛珠, 1947-), who in turn inherited the school of thought from Han Young-sook, took the view that it was through dance training that the mind and soul could have release towards full realization of the human nature. She emphasized the training that all of the body's energy sprang from the lower abdomen to introspect within oneself and served as the foundation for all Korean traditional songs and dance.