This study aims to identify and analyze the structural elements of the Dosalpuri dance by exploring its intersections with the spiritual and artistic aspects of traditional shamanistic rituals, thereby enhancing the understanding of the foundational framework and value of traditional dance. To this end, the research investigated the value and characteristics of the dance based on literature and video materials, examining the embedded spiritual and artistic elements of shamanistic rituals through themes, costumes and props, rhythm, and dance movements. The theme of dosalpuri encompasses the psychological and religious significance of invoking and treating spirits well to obtain blessings, encapsulating the archetypal form of shamanistic rites through play and resolution. The white costume, resonating with grief and secrecy, symbolizes the prevention of misfortune, and the 3-meter-long white scarf is interpreted as the pathway from the divine time to human time. The rhythm retains the traditional patterns used in the Gyeonggi Dodang-gut [Gyeonggi Province shamanic ritual]. The dance movements include daruchigi, mokjeotnoreum, and yongsawi, adhering to the formats of inviting, entertaining, and sending off spirits.

This study is to examine No. 1 Kim Jin-Geol ｢Sanjo｣ and No. 19 Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣, which were selected as masterpieces among many other ‘Sanjo dance’ – dances that both accept and transform tradition – through the analysis of each dance’s structure, characteristics, and discursive meaning. The research method adopted spatial semiotics because the actions of Sanjo dances produce various meanings depending on their spatial composition. As a result of the study, the Sanjo rhythms include Jinyang, Jungmori, Jungjungmori, and Jajinmori. There are differences between Kim Jin-Geol ｢Sanjo｣, which was first created in 1953, and Jeong Jae-Man ｢Sanjo(CheongPungMyeongWol)｣, which began in the late 1990s, in terms of their utilization of stage space. Compared to Kim Jin-Geol ｢Sanjo｣, Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣had more diverse floor patterns and compositional structures and showed the incorporation of fans as props in dancers’ movements. This study is meaningful in examining the universal values and characteristics of Sanjo dances, and is valuable in recognizing the re-creations and contemporary values of traditional dances.

This study critically approaches the “Research-Based Content” series of the Society for Dance Documentation & History, which explores the historical, morphological, and artistic meaning and value of dance through research in the reconstruction of traditional and new dances, the art dances of the modern era. This research is based on expert interviews and opinions of critics. First, it allows for a flexible reconfiguration and recreation of dance beyond the boundaries of tradition. Second, it enables the documentation of the process and results, providing a formal record. Third, through the exchange between dance and theory, as well as dance and other fields, it offers an i nclusive e xperience. F ourth, i t allows f or t he p ursuit of n ew p erformance f orms beyond traditional and contemporary dance through editing and adaptation in compilation performances.Copyright issues, mutual interests, research adaptation, and time-consuming are among the things to consider.

This study examines how Uyghur Bowl Dance has transforme over the years in Xinjiang, China. I used a eview of the records and image analysis to track changes in body postures, content, expressive methods, and social functions of Uyghur Bowl Dance. My analysis was carried out based on photos and drawings of the dance as well as pre-modern records Through the analysis of different cultural elements and characteristics that appeared in the formation of Uyghur Bowl Dance, this study identifies changes that occurred in the dance within different historical eras This study promotes the development of Chinese ethnic folk dances and serves as useful reference for the study of traditional dances in the history of Chinese ethnic culture and art.

This study is to analyze the movements of Yeombulgwajang, a section in Seungmu, a Korean traditional dance, from a perspective of Greimas’ semiotics. For the analysis of the study, the movement principles of “contraction and expression” and “tying and untying,” which were derived from the philosophies of Yin-Yang and Reincarnation embedded in Seungmu, were discussed through the idea of Greimas’s semiotic square. The relationships between contraction and expression and between tying and untying are deemed to be confrontational; the relationships between expression and untying and between contraction and tying are regarded as hypothetical; the relationships between tying and expression and between contraction and untying are seemed to be contradictory. The meanings of the dance may be formed and interpreted diversely based on the various combinations of these elements. The study contributes to demonstrating a new way of interpreting inherent meanings in Seungmu.

The purpose of this thesis is to interpret Salpuri-chum from the perspective of Adorno's mimesis and derive its argument from an aesthetic point of view. As a research method, a literature search method was used, and theoretical horizon research was conducted centering on ^『Aesthetic Theory_』 (1984), one of Adorno's books, and research was conducted centering on theses and academic journals related to aesthetic approaches. As a result, the theoretical horizon was derived by classifying firstly the meaning of Adorno mimesis, secondly Salpuri-chum as an aesthetic study, and thirdly Salpuri-chum through Adorno mimesis. This study contains the simple desire of the researcher to further expand the artistic value of Salpuri-chum, explore and analyze it from various perspectives, and inherit the preservation value of cultural and historical importance. And it is hoped that this study will contribute to the knowledge and appreciation of Salpuri-chum in a more developed form.

This study investigates the historical roots of the "Toad Dance" that emerged in Dongnae, Busan and documents its music, costumes, and major movements. From the perspective of resonance aesthetics, this study focuses on the Toad Dance performed by Kim, Hee-sang (1924-1995) at the Small Theater of the National Theater of Korea on June 22, 1984. Based on data collected from an interview with Kim, Onkyeong (1938-), the study reveals that the main performance space for the Toad Dance was Gibang (an indoor entertainment space). Kim also disclosed that the Toad Dance was performed by a male-female couple in the Gibang, but by one person in the outdoor space. Through analysis of newspaper articles on multiple performances of the Toad Dance from 1984-1998, as well as video and archival sources of the Toad dances documented by Park, Jinju (1936-1986), the study articulates the following characteristics of the Toad Dance: 1) The dance movements of the Toad Dance are generated based on improvisation; 2) The performance spaces for the Toad Dance include both outdoor and indoor areas; and 3) The Toad Dance symbolizes 'play' and 'origin', represents unique mimic costumes, and utilizes the breathing method based on the Dongnae Deotbaegi rhythm.

The purpose of this study is to examine the aesthetics inherent in Lee Eun-joo’s Sanjo dance, Geumseonmu. The study utilizes literature research and participatory observation methods, including in-depth interviews, oral records, and embodiment. The results of this study are as follows, First, Geumseonmu is a work that combines mind and body, which is a typical characteristic of Sanjo dance. Second, it has inherent feminist tendencies. Third, it is a traditional dance that makes good use of Korean elements. Fourth, it stands out for its artistry through the combination of various art forms. In metaphorical terms, Lee Eun-joo's Sanjo dance, Geumseonmu can be interpreted as a painting that emphasizes lines and empty space, a technique found in traditional Asian paintings. Significantly, her Sanjo dance expresses the factual aspects of external objects and the inner beauty of eternal life through dance.

Through a case analysis of small business CEOs who have accumulated social stress as a result of the pandemic of COVID-19 and participated in a dance movement therapy program, this study analyzes and reconstructs Korean dance movements in order to develop a dance movement therapy program and presents its effects. This program incorporates meditation and breathing exercises based on Oriental philosophy. In particular, the study examined the development process and results of the program in order to expand its scope and apply it to stress, menopausal disorders, depression, and anxiety that are common among the general population.

Firstly, we found that gender neutralizing the feminine dance movements would make male participants more comfortable participating in the program. In addition, the dance movement treatment program using Korean dance movements was found to be an effective alternative complementary therapy for relaxing muscles and solving physical and psychological issues. Moreover, the Korean dance-based movement therapy program, which employs movements and sensibilities that are best suited to Koreans, can further improve the health and well-being of Koreans.

This paper examines the formation and structure of dance music and the relationship between dance and music in order to better understand Kim Chi-hong's style of the twelve-forms Janggo dance. Literature review and oral history research are employed as research methods, and the musical characteristics of sound sources and videos are analyzed using a characteristic decomposition method. The results of the study can be summarized in three points. First, this article revealed that the music of the dance was a Seodo folk song written at the end of the nineteenth and beginning of the twentieth centuries. There is a greater possibility of the twelve-forms Janggo dance and its music interacting during the period. Second, the rhythm of the twelve-forms Janggo dance changes from Jungmori (♩ =65), to Gutgeori (♩ =40), and then to Jajinmori (♩ =70-95) rhythm. Third, music was transmitted along with dance. The process of transferring the twelve-forms Janggo dance is closely related to lyrics, the melody, and the rhythm of “Ginnanbongga”, “Cheongchunga”, and “Hangang-soo taryeong”. This research is important because it indicates that the musical structure and formation of this dance contributed to the transmission and creation of the dance itself.