The purpose of this study can be divided into two. The first is to clarify the detailed schedule of the concert tour of the USSR, which was the last schedule of the Choi Seung-hee’s National Dance Studio, dispatched to the Eastern Europe tour in September 1956. This clarification includes an identification of the purpose, signification of this concert tour and the dance works. The second is to analyze the phenomenon of Choi Seung-hee’s glocality in her dance works based on the trends of her creation in the 1950s and the Soviet audiences’ reception of her works.

The Choi Seung-hee’s National Dance Studio held a concert tour of the Soviet Union for 44 days from November 30, 1956 to January 12, 1957. In this tour, the North Korean government had a political purpose to advocate North Korea's position among socialist countries and to strengthen the solidarity among them.

After Choi Seung-hee’s return to North Korea, in the form of her works she used the stagecraft of Soviet ballet for her choreographies of North Korean dance. And In the content and subject of her works, she pioneered the North Korean dance drama “North Korean Ballet”, which dealt with socialist patriotism and proletarian internationalism following socialist realism. In her other dance works, she portrayed the North Koreans’ wise, optimistic, and diligent lives and showed the model of North Korean socialists. Although foreign audiences’ reception was different, her artistry was recognized in Eastern Europe, including the USSR, and caused a great repercussion.

This study recognizes the role and importance of basic dance in Korean dance education, and aims to identify the research trends on basic dance choreography for about 50 years and examine the current status to be used as basic data.

In order to examine basic dance research trends, it was analyzed by year, publishing agency, and topic-specific criteria, and a total of 66 dissertations published from 1974 to 2020 were selected after keyword search using the RISS.

First, the annual standard was divided into five units for 10 years. The first phase of the study was 6.1%, with a high proportion of dissertations. The second term shows a quantitative increase of 12.1%. The third term decreased quantitatively from the second. The fourth and fifth periods saw rapid growth in research results, and a quantitative increase of 75.7% is confirmed. The subject of research has expanded to philosophy and aesthetics.

Second, the analysis by publishing organization showed that the dissertation was published at 13 universities and the academic journal paper was published at 16 academic societies.

Third, as a result of the analysis on a topic-specific basis, the most discussed topics are Dance/Movement Analysis, and the least discussed topics are psychology (treatment) and sociology/anthropology.

The last 20 years of the 50 years of research have shown a radical development in basic dance research, showing remarkable academic achievements such as proliferation in terms of various research topics, multi-disciplinary analysis and depth on specific topics, and efforts to build the structure and principles of basic dance.

The purpose of this study is to classify the types of site-specific dance performance based on the characteristics of the site. To analyze the types, I examine articles, interviews, reviews, and internet sources about site-specific dance performance. In conclusion, the general site type is not just the dismantling of the boundary between everyday life and the arts but has the characteristic of a place that provides an opportunity to remind us of our ordinary life through the connection of the subject of work from the characteristics of the everyday venue. The site of specific meanings type is a museum with its own cultural and historical meaning, or the theme of the work is connected from the characteristics of a place where free access by the general public is not possible, and through this, an opportunity to create partnerships with local communities and institutions. The episodic site type is that the subject of the work is connected from the discarded and useless place, and through this, it provides an opportunity to reflect on the historical meaning of the past and concerns about the issues currently occurring at the performance venue. This type has the characteristics of a place that presents the possibility of regenerating the place again.