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.

By 1979, 95 culture and arts centers had been established, and there was an increase in the number of these centers every year from then on. In 2016, there were 229 culture and arts centers nationwide. The culture and arts centers established with the support of the government, needed the management of operation to suit local characteristics and environment with the lapse of time. To examine the operating state of dance performances of culture and arts centers, this study dealt with the performance record of the field of dance in performance halls from 2011 to 2016. Region, operator, and year were selected as demographic variables to make a comparative analysis of the trend in the changes of the variables. SPSS 21.0 was used to perform computational processing. The findings of the study were as follows: To the performance record of the field of dance in the performance halls, the total yearly number of dance performance cases was a mean of 2.6. and the total yearly number of dance performance days was a mean of 3.3. and the total annual frequency of dance performances was a mean of 3.9. Concerning the rate of paying audience in the area of dance, it stood at a mean of 15.2 percent, and was highest in Seoul. As the results, the number of dance performance days and the frequency of dance performances were low relatively to the number of dance performance cases compared to those of other genres. It implies that dance performances are given just on a temporary basis. Performance facilities that are tailored to the specificity of the genre of dance are necessary, and careful performance planning and assistance from the government are both required to ensure the continuity of dance performances.

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.

In this study, the teacher researcher participated in the dance education workshop as a learner to expand the awareness of the value of dance education. I revealed the story of my experience as a learner, and shared the principles and values of dance education found in the experience. For this, the teacher researcher participated as a learner in the dance education workshop organized by S-group and conducted a 'self narrative study' that explored my experience narratively. The principles of dance education found in the workshops experienced by teacher researcher are as follows. I was able to explore the principles of ‘community learning’ which enables people to communicate with others, and ‘active learning’ that the learners experienced and realized by themselves. The values of dance education found in this workshop experienced by teacher researcher are as follows. The experience of interacting with and others has allowed learners to develop their knowledge processing and problem solving skills while understanding others' movements, and to develop their self-management and creative thinking skills while telling their own stories. This body dialogue also allowed them to enhance their communication and community competence. Based on the results of this study, we can find the possibility of human education and competency education of dance education. We suggest the systematic implementation of dance educator and the development of related governance awareness opportunities for expanding the value of dance education.

This study deals with my autobiographical case study regarding motivation, process and aesthetic experiences that I, a professor in the field of computer education, had involved with creating hooded crane dancing. I collected data related creative performance activities such as photographs, videos, memos, dialogues, and pamphlet materials during 2017-2018 and projected live inquiries into a timeline as part of data interpretation. By adopting Artography, I illustrated major aspects of my performative experiences with live narratives as a single case study. The major emerging themes of this study are as follows. First, the case revealed pervasive and progressive passion and energy toward putting interests on knowing and understanding hooded cranes from ecological perspectives by mimicking their social behaviors and gradually tried out small performance events. Second, despite learning folk and court crane dancing, I could keep trying out to create my own versions of hooded crane dancing through connecting myself with nature from the perspectives of migratory birds. Third, this study showed the characteristics that described the process by which choreography work was developed and internalized through trying to understand the ecology of hooded cranes and sympathy with nature. Finally, arts-based inquiry may open up various genres of creative art forms for hooded crane dancing as part of research outcomes; for example, the follow-up researcher can present an autobiographic dancing for hooded cranes after collecting and interpreting her inquiries on hooded crane’s ecological stories.

This study inquires into the name of the Dutbeki dance Ulsan folk people’s traditional dance. This study investigates the meaning of the name of “Dutbeki,” various Dutbaki plays that were fused into other folk dances, and finally the independently transferred Dutbeki play itself. The prior literatures and the process officially confirm the name of ‘Dutbeki’. In 2016, the Ulsan Metropolitan City conducted a complete survey of intangible cultural heritages and officially recognized the Dutbeki of the region as “Ulsan Dutbeki”. This was based on the relevant regulation of the Intangible Cultural Heritage Survey of Ulsan Metropolitan City that formally confirmed the name as “Ulsan Dutbeki”. In this study the name is suggested as the “Ulsan Dutbeki Chum” to honor the tradition of the dance naming. This contributes to establish the foundation for preserving intangible cultural heritages and inheriting traditional culture in Ulsan Metropolitan City.

The purpose of this study explores the relationship between contemporary dance and feminism, and examines the influence of feminism on the aesthetic and practice of dance. This study was conducted through literature review and case study. I discussed the relationship between feminism and dance through the feminist’s movement and theory developed by Donna Haraway, Elizabeth Grosz, and Judith Butler.

The case analysis of this study, I choose two contemporary choreographers, Mette Ingvartsen and Jeremy Wade. Ingvartsen’s <69 Position> deals with the performances related to nudity and focuses on the socio-cultural environment in which the search for the relationship between politics and sexuality is mainly carried out over time. Ingvartsen’s feminist approach consists of exploring the relationship between the sexed body and society, capital, and politics. Wade propose the role of art as a sustainable practice through curation covering the political performance of queer, women, and people with disabilities in the project called “Future Clinic for Critical Care(FCCC).” Wade’s queering strategy means discovering social problems with minorities and driving political mobilization on them.

In this paper, I approach the knowledge of choreography in a way differing from the knowledge built on the patriarchal history. This research suggests that feminism is expected to exist as a source of undiscovered identities and opens up new possibilities for research and creation.