Hallyangmu is one of folk dances which shows social phenomena and discourses in the tradition process well. In the early days of development, it was a type of folk play that satirizes the society in each region, but as the age changed, it developed into a theater dance. Today, it is performed on stage as a masterpiece of male dancing by adding masculine fashion, excitement and acting. The important point in this systematic flow is that it has been refined as it enters the performing arts and has been handed down with its content and structure. This study focuses on the structuring of works that appear in it's stage-making process. Especially, The style of Kang Sun-young of Han Seong-jun's Hallyangmu which performed for the first time as a theater dance, conducts research focusing on the systematic aspects and performance aesthetics of Hallyangmu. It distinguished from Madang Noli and Gisaeng dance. The characters are four and the narrative structure is simplified, so there is not much movement, but the story progresses in a calm and calm manner while concentrating on the drama. The contents also show indirectly the space elements of the stage form by the character of the comic, humorous, satirical, and the phonetic movements focusing on the relationship among the characters.

This study examines the life and art of a choreographer Akram Khan, who has a dual identity of Bangladesh origin and British nationality, and choreographed about his cultural identity through his solo work Desh. For this purpose, this study analyzes related articles and interviews of preliminary researches, books and media both in Korea and abroad, reviews of critics, internet materials, and programs. As a result, first, he indirectly enumerated the surface of his wandering identity that does not know where to go and where to stand and created relationships in expressions of various characters coexisting in that space directing artistic representation of past, present, and virtual spaces. This dualism of diaspora empathy is the core theme of the work by forming the diaspora of Akram Khan with an emotion different from that of the first generation immigrants. Second, his personal interpretation of communication and exchange with different identities in a confused culture is projected in his work through a personal story that bears two cultures, Bangladesh and England. Especially, these works have been sublimated into artistic aspects, and fused with artists, music, lighting, set, and animation in other fields with a focus on dance in the works, and created a mise-en-scene that leads to artistic trends in the 21st century. Third, Kathak that he learned in his childhood has become the footstep of his art world. In particular, the acceptance of the narrative elements and movements of the Kathak has created his own language. In conclusion, Akram Khan's "identity" is the source of his artistic inspiration, and he respects the heterogeneity of his identity from his own perspective, this is sometimes different from the that of the other.

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.

This paper focuses on North Korean restaurants as a medium of culture and tourism. Prior to the analytical discussion, the researcher first summarizes the concept of 'Munyae', which North Korea uses instead of culture, in order to understand the basic historical background of North Korean art policy. The researcher understands dance and art in North Korea as a tool to express the representative ideology of the revolution, as well as the performances, which operate inside the North Korean restaurants, serve as an important means to secure government funds for North Korean authorities. Based on the understanding of the North Korean art background, this paper examines the dual suppression mechanisms presented by the North Korean authorities, and discusses the effects of body politics on restaurant performers. According to the results of this study, the North Korea interprets their restaurant in Thailand as a transformative device to hide the function of the restaurant, which is used as a medium of political support for the communist country while placing it in the tourism industry category. In addition, the North Korea suppresses the activities of female employees, who are the actual operators and performers, in the overseas North Korean restaurants, while allowing performances coming from other countries. This dual power mechanism manipulates the female performers' bodies that can flexibly cope with other cultures that have been excluded from them, and at the same time expects their bodies tamed with socialist ideology.

This study aims to examine the aesthetic resonance principle of Korean dance by analyzing how the place of Korean dance in the Middle Ages was influenced by the effect of dance through the ‘ki (氣, energy)’ theory by philosopher Choi Han-gi (1803~1879). As a research method, records related to dance were selected from historical literature, and Choi Han-gi's books were used as main texts, and related discourses were referenced. The original texts of the old documents used online databases with major old documents such as the National History Compilation Committee database, and keywords were limited to ‘mu (巫, shaman)’, ‘mu (舞, dance)’, and ‘chum (춤, dance)’. The results of the study are as follows. First, Korean dance was organically adapted to the spacetime of traditional society. Second, it was confirmed that the space of life was entangled as a place of dance in the traditional society. Third, it was possible to aesthetically explain that the principle of resonance in a special space called “sai (사이, between)” among dance places in traditional society was in ‘communication’. The main keywords of this study ―placeness, resonance, singi (神氣, primal energy), communication― are concepts that share the meanings of resonance as the nature of dance. The keywords are expected to contribute a academic and practical direction for today's dance theory.

This examines the formation background of Han Seong-jun’s Janggo-chum, the performance activity of his disciple Kang Seon-young, and its transmission to Yang Seong-ok.

The celebrated drummer Han Seong-jun understood fully the united relation between dance and rhythm, and developed it into a traditional dance through musical elaboration.

Kang Seon-young, a pupil of the Joseon Music Dance Research Association led by Han Seong-jun, was attached to his dance and idea to preserve and hand down the Korean Dance. In 2000 she presented the performance, restoring the prototypic repertoire of nine pieces of Korean traditional dance including Janggo-chum performed by her master in 1930s. This study focuses on the transmission aspect and analyzes the characteristics of the dance movements presented in literature, performance pamphlets, moving pictures, and interviews.

First, the composition puts emphasis on playing the hand beat that can back up dance movements so that a dancer skilled at beating by hand can dance without help of a drumstick. Second, the music is made up with a ballad tuned accompaniment, starting from the lengthy tune over to fast, and back to lengthy in the end. Third, the dance contains the Korean beauty of moderation in the harmony of elegant movements and light rhythm according to the musical change. Fourth, the costume consists of a white upper garment with indigo cuffs and purple garment strings, and a crimson skirt. Fifth, the genealogy is from Han Seong-jun to Kang Seon-young, again to Yang Seong-ok, and there are many successors today.