The purpose of this study is the job strain troupe of professional dancers and organizational commitment, job satisfaction, and to investigate the effect on turnover intention. The subjects were 241 patients in the final analysis of data was utilized as regular members belonging to professional dance groups throughout the country. Statistical methods for hypothesis testing was conducted using AMOS confirmation factor analysis(CFA) and structural equation modeling analysis (SEMl). The results were as follows. First, job strain of professional dancers have had a negative impact on job satisfaction. In addition, job strain had a positive effect on turnover doctor. Second, the job satisfaction of professional dancers appeared to have a positive impact on organizational commitment. In addition, job satisfaction was found to have a negative effect on the degree of separation. Third, however, job strain on organizational commitment, organizational commitment had no significant effect on turnover intention.

This study explores the dance activities of Choi Seung-hee in Japan, focusing on her image strategies around 1935. Analysis was conducted on the Sai Shoki Pamphlet (Volumes 1-3), a pictorial magazine produced for the dancer. Particularly, this study deals with the period following her second trip to Japan when she proved her potential as a new creative dancer. 1933-1937 was the high point in her career, culminating in her trip to the US. In particular, her dance activities right after her trip to Japan marked a critical period in her dance career in Japan. That is when Sai Shoki Pamphlet was published. The pictorial magazine includes a detailed record of her dance performances for two years from September 1934 to November 1936. Her full-fledged dance activities began in September 1934 with the 1st New Dance Work performance of Choi Seung-hee. Sai Shoki Pamphlet was created to promote Choi Seung-hee only. It includes critiques and reviews by Japanese artists and cultural professionals regarding her dance. It also contains product ads promoted by Choi Seung-hee and her dance photos. The photos, product ads, and cover design are explored in this study, to understand her image strategy at that time. Review of Sai Shoki Pamphlet exploring her dance activities as a Korean dancer is crucial for identifying her image. This study sheds light on her activities in Japan from various angles ranging from the planning objectives to the production process and effects of the magazine. The findings reveal all her activities in Japan during the 1930s through a more detailed empirical study.

Zeami (世阿弥) completed sophisticated and elegant Nho (能) centered at songs and dances (歌舞) by developing No that has been centered at fact-oriented performance. Although dance of Nho sometimes expresses realistic performance, most of the dance movements themselves are stylistic and abstract without specific meaning. However, the fact that the movement does not have specific meaning implies that it has limitless power of expression where any meaning can be expressed according to the script and dancer’s capacity. Nho(能) in Gonparu Zenpo (金春禅鳳) that this paper examines contains unique dance performance that differs from other previous dance pedigree of Nho. This paper examines the acceptance pattern of Ikkakuseonyin tale by focusing on its entertaining factors and investigates the pedigree of dance performance of Nho from an aspect of dance history of Nho. Nho is composed of a story flow where Sea God appears to fight with Seonyin after the dance by Madam Senda and finally let the rain falls. As a result, Madam Senda’s dance that liberated Sea God and triggered rainfall can be said to be identical to the dances praying for rain by female shaman that has been performed in various places in Japan from ancient times. Meanwhile, an anecdote that describes the opportunity that Shizukagozen (静御前) obtained the praise of the best dancer in Japan gives a good example for understanding the meaning of Madam Senda’s dance. In this story, while people are concerned with drought all over the country, Shizukagozen performed dance named Shirabyoshi in Shincheonwon and pleased Sea God to let the rain fall. Dance of Shizukagozen can also be interpreted as the same meaning as Madam Senda’s dance, which becomes the Abstract 26 제41호momentum that liberates dragon and triggers rain in Nho . Dance that can be seen in Nho is ‘Aimai (相舞)’ by Madam Senda and Ikkakuseonyin, where the two perform the dance in the same form. However, instead of dancing in the same form from the beginning, Madam Senda dances alone at first. Then, Seonyin is attracted to Madam’s dance to step on the stage and follows her dance moves. Aimai already existed in the pedigree of dance devised by Zeami, where dancers perform the same dance moves, similar to the dance in Nho . In , the soul of main character Shizukagozen and a woman who is captivated by the sole dance together in the identical form from the beginning. Gonparu Zenpo follows the pedigree of Aimai in Nho on the one hand. On the other hand, it imitates new dance, that is, Madam Senda and newly devises the pattern of expressing the process of synchronizing to the dance.

The word ‘Convergence’ is one of the major key words in this age and it is used in many different fields and various ways. The purpose of this study is to verify the role of convergence in maximizing the artistic expression and to confirm the possibilities of convergence effects whether it can bring change and create new territory in dance field by analyzing Deborah Colker’s choreography , which best reflects convergence characteristics. This study examined Deborah Colker’s choreography , focusing on convergence by using Janet Adshed’s dance analysis methods. Debora Colker brought the huge vertical stage and it played the big role in . The dancers certainly exceed ordinary human limits with highly physical dance, bordering on acrobatics, sports and arts. These converging movements of acrobatics, sports and ballet and the vertical set formed a coherent whole. They interacted together so strong that it maximized the artistic expression and brought the possibility of a new vision of dance.

This study begins with the question of what dances were performed in the Sa-ak during the Joseon Dynasty. The Sa-ak (賜樂) consisted of a director, musicians, female entertainers, boy dancers, and a Cheoyong masked dance group. The research objective is Jeongsanggonhoenangilok, which was written to celebrate Hoebang (回榜)’s 60th anniversary of passing the state examination by Jeong Won-yong(1783- 1873). The Joseon wangjo sillok (朝鮮王朝實錄) and Akhakgwebeom (樂學軌範) were also sources of background material, consisting of official records and literary works, that were subject to review. In terms of the rites of the Hoebang, on January 1, 1862, the king gave orders. In addition to feasting by the royal family, the government allowed citizens to also participate in festivals, many of which were held over the course of two months. Relative to the Sa-ak, the king established the first degree of Sa-ak, which consisted of a total of 52 people: 1 director, 36 musicians, 10 boy dancers, and 5 Cheoyong masked dancers. They performed for two months. In terms of the performances, the repertoires of the boy dancers were not recorded and remain unknown. While it was performed leisurely, it gave a feeling of flourishing and colorful. The female entertainers performed seven kinds of dances along with the Jangagwon orchestra: Cheoyong masked dance, sword dance, drum dance, pogulak (dancing ball into hole), seonyulak (dancing to play on the ship), and hyangbal heonseondo (dancing to give a long life peach). These repertoires were the most popular forms of jeongjae (呈才) in the late Joseon court. The Sa-ak was performed as part of a private feast. “Sa-ak” is an important keyword for understanding the culture of Korean dancing, because it spreads as “Sa-ak” in private space, and has the character of cultural circulation in which the enjoyment of royal court dance extends to individuals.

This study aims to examine the contemporaneity of performance archive and reconsider the historicality of dance, focusing on practice and theory in contemporary dance. For this, I explored theories and discourses that arose in contemporary arts, and I have analyzed the cases of archive practice. Over past two decades, choreographers in contemporary dance have experimented contemporaneity and history through archive practice. This study focuses on historical concepts of archive in order to find the meaning of the choreographer’s re-enactment. In this study, I refer to Walter Benjamin and Michel Foucault’s proposal on history and archive to construct the theoretical frame of this study. “Actuality” in Walter Benjamin’s philosophy is heterogeneous time modes of the past and the present in singular moments, and it presents reality. Foucault suggests archive as a system of transformation and severance. He exceeds common perception of linear history with an archeological approach. To examine how choreographers apply archive to their work in a level of choreography and body as medium of dance, I have chosen the works of two choreographer: Yvonne Rainer and Boris Charmatz. Rainer uses the methods of “repetition” and “representation”, which transmit from one body to others in her . She suggests performative archiving to produce new creations in the process of returning to the original. Charmatz writes new history, which is established between dance history and a dancer’s memories in the present time. They both emphasized that a body is the subject of both dance and real life because every segment of history inhabits the body. Therefore, there are no distinctions between archive and body in dance. In this study, I discuss performance archive being toward embodied actualization with the choreographic approach. Performance archive is not only a form or style of dance but also questions, engagement, relationships, and enactment of the objectivity and subjectivity of dance. In this light, the choreographic is the way to create both dance and history.

This study placed importance on being able to track aspects and characteristics of the dances which were popular in the Tang age (唐代) by examining the aspects of several Homu (胡舞) and Daegokakmu(大曲樂舞) shown in Bai Ju Yi (白居易)'s poems(詩). ≪Homu≫ appeared in the poetry and prose described , , and , while ≪Daegok≫ did and with details. ≪Daegok≫ was the dance that was restructured to add more grandeur and beauty. Bai Ju Yi changed ≪Daegok≫ to descriptive poems to make readers understand the organic relationship between its major historical background and figures. In this sense, the dance of the love between Emperor Xuanzong of Tang and Yang in Xi'an and the Emperor Dézōng of Táng (德宗)'s dances about beautiful music were all related to ≪Daegok≫. Thus, ≪Homu≫ and ≪Daegok≫ reviewed in Bai Ju Yi's poems can be found to be related to the foreign dances that were popular in the Tang age, the creative dances based on the traditional songs and dances, and historicity.

This is a research of Choi, Seung Hee dance, tour of USA, Europe, and Latin America. The tour of USA research covers the first USA performance initiated in San Francisco 1938 and the second one in 1939 which had purpose of avoiding the European War. The tour of Europe research covers from January 1939 in Paris right after the first tour of USA to the performance in Hague, Netherlands. The tour of Latin American research covers from the performance in Brazil in 1940 to the performance in Mexico after the second tour of USA to avoid the Second World War. The activities in the Communist bloc in Europe after Choi, Seung Hee's defection to North Korea have been excepted from the tour of Europe research. According to Professor Jeong, Byung Ho, Choi, Seung Hee created more than 310 works throughout her life. And it is shown in her own records of conversation that she had over 600 dance work performances during the world tour. Also, Professor Kim, Ho Yeon says that there are more than 600 news articles in The Chosun Daily News, Dong-A Daily News, Maeil Shinbo during the period of Japanese colonial rule. Currently, over 100 studies of Choi, Seung Hee can be found as preceding results. Among these works, performances, recordings, and researches, lots of errors appear when translating expressions of the countries where the performance took place to our expression and when interpreting those translated materials as primary source and analyzing with our method which causes so much confusion to the research when quoting them as well. The motive of this research is to minimize those confusions. Along the process, by translating primary sources from around the world, the unification of expressions in our terminology which Choi, Seung Hee originally used was conducted as well. This research may have some omitted areas since only confirmed information in primary sources was researched. Choi, Seung Hee presented steadily during the world tour and the materials for the creation were about Korea and legends of Japan. She stated in her performance fliers that she is 'Korean Dancer' and also put her Japanese name 'Sai Shoki'. This can be understood as reflection of difficulty of the era. The fliers contain the title, music, and, in most of the printouts, the warning for the copyrights. This can be the pride of her creation and the result of an artist's rights practice. As a result, proposing the pamphlets and evaluation data of each performances of USA tour and proposing the actual repertory and contents of performances by discovering Europe tour pamphlets (Paris and Germany) are considered to be meaningful works in the history of Choi, Seung Hee research.

The essay starts with a reference to the rhetoric of nationalism around a recent event when Draupadi, an adaptation of the translation of Mahasweta Devi’s short story by the same name was staged as a play, by the students of an Indian University. The subsequent hate campaign and politicisation of a class presentation in the University shook many people in gender and feminist studies. The reading of the play as anti-national and not recognising its importance within the discourses within studies on gender, civil rights or English literature was seen as an extension of the political propaganda in the society. In light of such complete marginalisation of issues of violence on women, this paper tries to bring together different ways in which the woman named Draupadi becomes represented in performances around her in India - travelling across time and geopolitical spaces–where again Draupadi surfaces as a character depicting strong resistance against army atrocities. In its non-linear narrative, it attempts to see Draupadi’s travel through time and space of performative representations as choices of reflections put forward by performers–thus giving her a specific role as the representative of women as vulnerable subjects in Indian society. The paper draws on examples from dance and theatre that are directly based on the story of Draupadi, a central female figure in the Indian epic. It also draws on the story “Draupadi” written by Mahasweta Devi (translated by Gayatri Chakraborty Spivak) and its theatrical rendition. Finally, it looks at a real life situation in Manipur, and its possible connection to the theatrical representation it came to resemble. This paper is written to reflect upon the position of women in the context of national honour and hegemonic structure of patriarchy, taking the story of Draupadi and its after-Life.

The period from the late 1930s through the 1940s was a tumultuous time in China because of two devastating wars—the War of Resistance Against Japan (1937-1945) and the Chinese Civil War (1945-1949). This essay examines the impact these wars had on concert dance, at the time still a newly emerging art form in China, by examining the case of Liang Lun 梁倫 (b. 1921), a dancer from Guangdong who began his dance career during the 1940s. Although Liang is widely considered to be one of the founding figures of modern Chinese dance, he has received almost no attention in the English language scholarship. This essay thus serves as a preliminary examination of Liang’s early choreographic repertoire, as well as a reflection on the ways in which Liang’s experiences reflect broader trends in Chinese dance during the wartime period.