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.

The purpose of this study is to investigate the dance life history of Jeong Jae-man (鄭在晩, 1948-2014) based on the documents. This study was to lay the foundation for future studies in order to overcome the limitations of insufficient historical data on Jeong Jae-man's dance due to his sudden death and the lack of theoretical background for posthumous studies on his dance. The data used for this study was collected from research data, media articles, interviews and other materials, the research method was studied by classifying chronological order in the total form, which is the method of text analysis in the study of living history. As a result, the dance life history of Jeong Jae-man was divided into five categories: the first period ‘Growth’, the second period ‘Activity’, the third period ‘Career-Building' and the fourth period of ‘Handing down', and the fifth period of ‘Transmission'. The study is expected to provide useful academic data to his junior colleagues who preserve and transfer his dance and to serve as an evaluation reference in analyzing the historical flow of intangible culture. The study is expected to provide useful academic data to younger generation of students who suceeed and preserve and his dance and to serve as an evaluation reference in analyzing the historical trend of flow of intangible cultural assets.

Following the drastic increase of elderly population, Parkinson's disease has become the second-fastest growing disease after dementia. Parkinson's disease is a chronic degenerative disorder of the cranial nerve system caused by the lack of dopamine, which controls body movement. The disease is a physical impediment that affects daily life of patients and it may progress to dementia. At present, Parkinson's disease cannot be completely cured and the patients depend on medical remedy, surgical therapy, and physiotherapy. However, the existing medical treatment has produced several side effects. As a result, movement therapy, which relieves physical disorder and restricts the progress of the disease without causing side effects, is receiving increased amount of attention these days. This study focused on the movement therapy program aimed at the improvement of physical impediment caused by the symptoms of Parkinson's disease and analyzed the existing domestic and international studies. The purpose of this study was to highlight the importance of the movement therapy for the Parkinson's disease and propose efficient methodology. This paper also introduces efficient and practical movement therapy programs that can be easily applied in clinics. The literature review on the application cases of the movement therapy program for patients with Parkinson's disease proved that Feldenkrais method was the most efficient method of relieving physical impediment among early-stage patients. Clinical studies have already proved multilateral movement therapy effects of the Feldenkrais method in diverse fields. This study introduced Feldenkrais method as a prevention and treatment scheme of the Parkinson's disease and proposed the potential design of the movement therapy program based on the Feldenkrais method.

The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

This paper examines the implications of the current status of street dance in Korea, which is rapidly growing aided by institutionalization in the cultural industry and education market. This study begins with the researchers' recognition that situations requiring a clearer definition of street dance-related terms frequently occur. We interviewed street dancers from various positions to figure out the practical uses and perceptions on street dance terms. In order to illuminate the theoretical significance of the emphasis on stylized sub-genres, which was emerged as a core theme during the coding process, we refer to Paul DiMaggio's sociological study on classification in art. The findings are summarized as follows. First, various classification systems evolved as street dance in Korea transformed first emerging as amateur popular dance, moving on to cultural industry, finally arriving as professional art. Second, specific sub-genres are increasingly hierarchical, universally recognized, and ritually bordered, the pattern of which suggests a canonization. However, even during the institutionalization and canonization, street dance reveals complexities that do not fit into a static classification system.

This thesis examined the inherent meanings of the C-shaped movements in Chunaengjeon the Tang court dance reconstructed by Liu Feng-shueh. In this paper, we examined the cultural and aesthetic features that are contained in the breathing, basic movements, and morphological C-shaped movements portrayed by Li Chao as a feature of Chunaengjeon. First, C-shaped movements in Confucian thought appeared in two different forms: "C" in "Etiquette" and "C" in respiration. For the former, the C-shaped movements of "Etiquette" used the movements of Chunaengjeon in Japan and the form of "Etiquette" in Korea Ilmu for reference, in oder to be based Confucianism. As a result, the C-shaped movements of "Etiquette" showed characteristics of dignity and humbleness embedded in national culture of Tang Dynasty. For the latter, breathing of the C-shaped movement was inherently calm and harmonious by using the Taichichuan breathing method, which was derived from Confucianism and Taoism, that gathered the breaths from the pubic region and then pushed it down constantly. Second, the aesthetic of the C-shaped movements introduced various movement trajectories such as circular or straight lines in the static C-shaped movements in order to reveal the elegance and neat figure of the Tang court dance. The elements of imagination and beauty about the Tang Dynasty court dance were added into by Liu Feng-shueh so that ultimately aesthetic C-shaped movements were made with aesthetic sense. In addition, Liu Feng-shueh made aesthetic C-shaped movements from the Tang dynasty's court dress by learning from the characteristics of the dual structure of Japanese Chunaengjeon. This result suggested intrinsic meaning of the C-shaped movements in Liu Feng-shueh. Last but not the least, we were looking forward that Chunaengjeon could make a contribution to help reconstruction research the traditional dance of China, Korea and Japan.

The purpose of this study was to investigate the effects of professional dancers' achievement goal orientation and self-management on their dance commitment. Subjects of the study were professional dancers working in one of the national, provincial, and municipal professional dance organizations located in Seoul, Kyeonggi-do, Incheon, Gangwon-do and Chungcheong-do, as of 2019. For the data collection, questionnaires based on self-administration were distributed to the study population. 325 samples were collected and used for the data analysis. Corelation analysis and multiple regression analysis were employed, and each hypothesis was tested at the a=.05 level of significance. Through these research methods and procedures, the following results were derived: First, self orientation of achievement goal orientation showed to have a significant effect on all of the subsidiary factors of self-management: mental management, personal relations, training management and physical management. Task orientation was found to have significant influence on mental management, and physical management. Second, self orientation of achievement goal orientation appeared to have significant influence on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. However, task orientation did not show any meaningful effect on any of the subsidiary factors of self-management. Third, subfactors like training management, personal relations and mental management of self-management turned out to have a meaningful effect on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. These results proved that professional dancers' achievement goal orientation and self-management were the factors that were significantly related to dance commitment. Therefore, as the higher and better the professional dancers' achievement goal orientation and self management are, the better their commitment to dance become, it will lead dancers to higher degree of perfection of dance performance and consequently bring high quality of performance to their audience.

Korean Fan Dance is the most favored dance by the entire nation, however, it would be astonishing to explain that this dance's history has been less than 100 years old. Korean Fan Dance, which appeared around 100 years ago, was coincidentally performed by two Shinmuyong (New Dance appeared at the beginning of the 20th century) dancers, Seung-hee Choi(1911-1967) and Baek-bong Kim(1927-) in the same period, and recently Geum-do Jang(1928-2019), a former gisaeng (female entertainer) of Sohwa Gwonbeon (Gisaeng School) in Gunsan area, was also known to have performed a fan dance. I had a curiosity about the fact that the three people had different fan dances. I also realized that our knowledge of Korean Fan Dance might have been scattered. Thus, I attempted to research the history of different Korean fan dances while examined the published materials. As a result, Seung-hee Choi's fan dance changed several times and developed without a certain framework in terms of the function and background of the dance. On the contrary, the fan dance of Baek-bong Kim's movements were formalized and handed down so far without any significant changes until the first presentation. Geum-do Jang's fan dance started as a formalized group dance after learning from Gwonbeon, but later she performed it as a solo dance. After the Korean Liberation, Jang's fan dance lost its venue due to the disappearance of Gwonbeon. Meanwhile, the fan dance of Korean Minority in Chinese was influenced by Seung-hee Choi and the gisaeng, but it was widely changed and interpreted upon topics and expressions.