Since the rise of ‘dance studies’ as an academic discipline in Anglo-American dance scholarship in the late 1980s and 1990s, interdisciplinary methodologies borrowed from cultural studies have been dominating the field, generating valuable research that places central focus on the role and value of dance and/or dancing/moving bodies in ways that transcend and traverse the disciplinary boundaries between sociology, politics, and aesthetics. In more recent years, however, such theoretical interdisciplinarity itself has, to some extent, become a burden for dance scholarship, at times distracting researchers from focusing on the core concepts, viz. dance and the body, and at the cost of a balanced adoption of interdisciplinary and medium-specific methods. Accordingly, this paper focuses explicitly on these concepts, selecting three key studies on the themes of dance and the body–in particular, the works of Janet Lansdale, Susan Leigh Foster and Body-Mind Centering®(BMC)–to reveal how each exhibits different yet somehow interlinked interpretations of dance and dancing/moving bodies. To this end, the paper examines three key concepts: (1) Lansdale’s understanding of ‘dance’ as a performance piece; (2) Foster’s concept of ‘dancing’ and ‘dancing bodies’ as a performing act involving active agency; and (3) BMC’s idea of ‘mindfully moving bodies’, which highlights the interconnectedness of and interactions between body and mind. Through comparative evaluation, the paper demonstrates the distinct ways in which each discourse perceives dance and the body in relation to processes of thought and mind, revealing how dance and/or the body play an active role in shaping discursive thought, socially contingent knowledge, and human wisdom. In doing so, the paper reveals the diverse forms of knowledge that dance and the body bring out, in the process highlighting the enduring effort (intentional or unintentional) to construct renewed discourses and disciplines that challenge the long-standing western dichotomy between body and mind.

This study aims to examine the changes in dance moves and accompanying music of Cheoyongmu(處容舞) that had been performed at royal banquets during the late period of Joseon Dynasty. To do so, the researcher examines documents related to banquets during the period in order to observe how and why Cheoyongmu had changed over time. As such, it is a follow-up study to the “Study of Cheoyongmu during the Reign of King Cheoljong(哲 宗)”. The research outcomes prove a previous argument wrong, which claims that succession of Cheoyongmu was severed on the basis of the absence of related records for seven decades in the late period of Joseon Dynasty. Another finding is that Hyangdanggyoju(鄕唐交奏), which appears with great frequency as an accompanying music in Euigue(儀軌) and Holgi(笏 記) during the late period of Joseon Dynasty, was in fact Youngsanhoesang(靈山會上). The analysis suggests that changes of Cheoyongmu for royal banquets during the period were widely different from changes in the early period of Joseon Dynasty. Specifically, the most pronounced change came from music. Contents and organization of dance moves also underwent changes, and above all, the song, Cheoyongga(處容歌), was not performed in banquet rituals during the late period of Joseon Dynasty. These findings are expected to lay down basic information to illuminate more accurate history of Cheoyongmu for the future generations.

The aim of this research is to understand the dancing culture of the Joseon Dynasty period(1392～1910) by examining dancing pictures in multi-level. The objects of the analysis are 22 pictures of dancing in royal space, 37 pictures if one counts copies and different editions. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically speaking, the pictures of dancing in royal space had been drawn from Jungjong(1488～1544, r.1506~1544) to Gojong(1852~1919, r.1863~1907) in Joseon Dynasty. In terms of space, royal palace is the space where the royal family and officials enjoyed dancing. In terms of audience-performer, there are only male audiences in dancing pictures from Jungjong to Yeongjo(1694~1776, r.1724~1776) but female audiences appear from Jeongjo(1572~1800, r.1776~1800). The performers in the dancing pictures are various like female dancers entertainer called as ginyeo, boy dancers called as mudong, cheoyong dancers, and even officials. In later times, the dancing ginyeo becames noticeable. It has been proven by the pictures of dancing officials that the officials were dancing in the party with a king. In terms of the way of drawing dancing, it has been started from Jeongjo that multiple jeongjae appear in one scene as if they are performed simultaneously. In Soonjo(1790~1834, r.1800~1834), dance painting accurately reflected the performance. All the dances performed were pictured. Gradually, however, during the Korean Empire, only some of the dances performed were painted. Popular dance was drawn frequently. I suggest that the importance of dance in record pictures of royal space is directly proportional to the importance of dance in real culture.

This study probes how the notions of choreography has formed and changed in relation to dance notation. Two manuscripts, not by accident identically titled, are examined— Chorégraphie by Raoul-Auger Feuillet and Choreographie by Rudolf von Lavan—with regard to their respective understandings of the principles of dance and their socio-political contexts. This study brings Feuillet and Laban into a historical perspective beyond the previous literatures that solely focused on either of them. In Feuillet, choreography was defined as the composition of dance by means of notation. The space for dance was identified as flat and rectangular one, which led to the principles of ballet with the emphasis on geometrical shapes, establishing the two-dimensional plasticity as the aesthetic norm of the time. The act of composing dance by notating movement accompanied the emergence of the choreographer-subject which objectifies bodies of dancers, and thus the invention and development of dance notation was supported by the absolute monarchy out of its interest in the absolutistic body available to be controlled and disciplined. Laban developed the concept of choreography as the notation of forms and qualities of movement in space harmony. Laban theorized scales and rings in crystal space as new principles of movement, founding three-dimensional plasticity with its unceasing mobility as the aesthetic norm of modern dance. Complying with modernist ideal of progress and efficiency, Laban also applied his principles to choreograph movements of industrial bodies. Addressing manuscripts of Feuillet and Laban, and their contribution to the historical formation of the notions of choreography, this study unfolds the concepts of choreography in multilateral contexts, complementing and surpassing the prevalent, literal understanding of its meaning as dance-writing, which will provide the cornerstone for elucidating the historicity of choreography leading up to the present.

This paper discusses the impact of invigoration of regional dance on the basis of the need to construct the Korea National Dance Center. Under the premise that the Korea National Dance Center will establish branches in various regions along with a headquarter in Seoul, the impact on regional dance revitalization would include specializing regional dances, fostering local dancers, supporting programs that promote regional dances, developing networks between regions or at home and abroad, promoting theories and criticism of regional dance, and creating dance related jobs. The Preparatory Committe for the Korea National Dance Center is hoping that the center will provide a way to overcome much of the structural problems of the Korean dance field and overcome the field’s overall imbalance. In particular, it can have a more encouraging effect on invigoration of the dance field in each region as well as in Seoul, and this will naturally help to establish the global competence of Korean dance by distributing and expanding Seoul-centric activities across the country. In order to do this, rather than looking at the profits and losses of each dancer, it is necessary to make public voices for the entire dance field.

This study identifies the current status of dance departments at universities in Daegu and Gyeongbuk and to raise the need to improve dance education programs and to seek a change in educational direction for dance departments facing the crisis of the abolition at the local universities. Starting with the department of dance at Hyosung Women's University (currently, Daegu Catholic University), which was established in 1974, the department of dance was established at Keimyung University (1984), the dance major at Yeungnam University (2002), and the department of practical dance at Daegu Art University (2004) in succession. The dance culture of Daegu and Gyeongbuk was formed and developed through dance education and creative activities have been centered on these universities. Today, however, with the rapid decline of the school-age population and the university restructuring policy, the dance departments at local universities face a crisis through the abolition, unification, downsizing of undergraduate majors and reform of specialty majors. Therefore, if the departments of dance at the local universities establish a step-by-step educational program that considers not only the admission process, but also student’s employment after graduation, and expand programs such as directing, management, stage, lighting as well as practical education centering on fine arts, and if each university presents a paradigm of specialized education to expand investment in creative dance education and to develop a new dance education ecosystem through the formation of a network between departments, community education institutions, and regional art creation agencies, they will grow into a continuous and future-oriented dance departments at local universities.

The purpose of this study was to examine the cases of community dance in America and to find out how to revitalize local dance. For this purpose, Marylee Hardenberg, who played a major role in the Mississippi River revival through a site-specific dance performance, Pat Granny's Dance program for Prisoner called 'Keeping the Faith' and Brooklyn's Care for the disable in a community dance program by Mark Morris were examined. In conclusion, the methods of activating local dances include first, use of specific places to create site-specific performance, second, development of programs for prisoner which can communicate with local publics and third, development various community dance program for disable.

The purpose of this study is to conduct a spatial analysis of movement in Taepyeongmu using Rudolf von Laban's theory of Space Harmony. Laban emphasizes that 'space' can grasp the nature of movement and that while Eastern and Western perspectives may differ, it can be dealt with in terms of the universality of dance. In this study, I analyse Teobeolim(터벌림, widening ground) and Olimchae(올림채, uplift). The results of the spatiality of Taepyeongmu are as follows. The major Crystalline forms are analyzed as icosahedrons in Teobeolim and as cubes in Olimchae. The results of the Effort analysis shows that Taepyeongmu displayed the Bound Flow of the lower body, while the spraying of the Hansam caused Light Weight in Teobeolim and Free Flow of the upper body is utilized elastically in Olimchae. The use of the effort is found not to be simple and uniform, but to occur in a variety of complex movements. Research of Taepyeongmu’s spatiality is not limited only in the form of perfect skill and performance that focus on the transfer of skills, but it can also provide a theoretical basis for an analysis of Korean dance, allowing more various interpretations and an application of more efficient and clear movements.

The purpose of this study is to investigate the influence of empathy ability on dance emotion and dance expression of college students. The subjects of this study were 169 college students who majored in modern dance at each four universities in Seoul, Busan, Gyeonggi, and Jeolla provinces. The survey tool used a empathy ability, dance emotion and dance expression questionnaire, and collected data were analyzed by frequency analysis, correlation analysis, t-test, ANOVA, and multiple regression analysis using SPSS 21.0 program. As a result, first, students of modern dance majors had high physical expression ability in boys and 9~11 years in dance participation period, and high cognitive ability in 4th graders. Second, the empathy ability of college students of modern dance major had a significant influence on fun, vitality, pride and achievement. Third, empathy ability of college students of modern dance major had a significant influence on dance expression ability. Fourth, the fun and vitality of dance emotions of college students had a significant influence on the performance of dance expression. The results of this study are expected to provide basic data for teaching dance expression in the curriculum of modern dance majors.

The purpose of the current study was to investigate the relationship among body composition, bone mineral density(BMD), career and eating attitude in Korean traditional dancers. Seventy three dance major female college students were recruited in the current study. The body composition variables such as body mass index, percent body fat, total body water, fat free mass and basal metabolism rate were assessed. Data were collected from Anorexia Bulimia Inventory(ABI) questionnaire and BMD was measured using Quantitative ultrasound. T-score was used as an index of BMD. Analysis of confirmatory factor, multiple correlation, multiple regression, and Dubin Watson test were applied for the statistical analysis using SPSS 23.0 windows. There was statistically significant correlation between dietary control and BMD of eating attitude negatively and depressed mood about Career positively(p<0.05). In the result of regression analysis, dietary control and depressed mood were the coefficient determination in BMD and Career. In conclusion, the current study suggested that the perception of healthy body weight was required for dance major female college students.