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 analyzed traditional dance scenes in historical dramas and related internet articles in order to understand their contents and characteristics, assuming that contemporary media discourse has contributed to the production of traditional dance images. The subjects of the study are the traditional dance scenes from eight historical TV dramas, which were broadcasted in 2016: , , , , , , , and related articles posted on the news category of the portal website Naver. The study showed that the image of a traditional dance appearing in the traditional dance scenes was portrayed as a beautiful, mysterious, or powerful means of tempting viewers. Most of young, female main actors played the dancers, and the close-up shots focused on the performers' faces. The types of traditional dances exposed to the dramas and the appearance of their movements were not appropriate for the historical conditions, such as the background of the dramas or the status of the characters. In addition, the fact that the gender and status of the performers were confined to female dancers or female shamans could not go beyond the historical fact at all. In the content analysis of the internet articles, it was found that the names of traditional dances were not based on professional knowledge. It was also found that, when describing traditional dances and performers, similar expressions were used despite the different types of dances and narrative situations in each scene. This is related to the fact that the contents of the internet articles were provided by the agency of the female entertainers who played the actors and filtered through the portal site, rather than reflecting the intention of the drama's producer or entertainment media reporters. In other words, the internet articles promoting the traditional dance scenes were written as a means to increase the popularity of entertainers. Therefore, it should be noted that this bears many problems when propagated to the public as a traditional dance discourse. This study is significant, revealing the image of “dance”, “dancer”, and “dancing woman” in and out of the dance system by revealing the image of traditional dance produced by contemporary media and media discourse. Finally, it is hoped that this study can contribute to generalizing the images related to dance and preventing the excessive prejudice over dance.

This study aimed to examine the transmission pattern of Kim Su-ak’s Traditional Dance and its artistic significance. Jinju Gyobang Dance refers to the dance handed down mainly through unique culture and Gyobang of the Jinju region. Representative Jinju Gyobang Dances include the Gutgeori Dance of Jinju Gyobang, Gueum Geommu, and Nongae Salpuri Dance. These dances were compiled by Kim Su-ak and then handed down mainly through Gyobang of Jinju and Seoul. This study examined the transmission pattern of Kim Su-ak’s Traditional Dance. In particular, it summarized three dance notations based on Seoul gyobang and looked into its expanding process through interviews with Kim Gyeong-ran, the assistant instructor of Kim Su-ak's dances. Jinju Gyobang Dance has not remained traditional. It has expanded from its traditional form, constantly giving pleasure to the public. This has been possible because it has increased its artistic value by creating a narrative structure through the perception of theater and space while retaining its original cultural form. This study showed that the value of Kim Su-ak’s Traditional Dance has been created by the transformation into the genre, which actively communicates with reality while faithfully keeping its original aesthetics and significance, and by the work to seek and build various methodologies. This can be explained by the specification of the original form and expansion into various themes through on the spot performances. This transformation into performing arts constitutes an important opportunity to explain works while presenting the direction of life to the public.

The purpose of this study is to analyze the commercial “NYC Ballet's Young Patrons Circle” from the semiotic viewpoint. The commercial was produced by the New York City Ballet to recruit new young patrons and to draw the internet inherent meaning in the online commercial. The study is a qualitative study that used the precedent thesis, relevant books, and internet materials in literature research, and it analyzed the video secured from the official YouTube page of the New York City Ballet in the video analysis. This researcher studied the inherent ideology in the online commercial by applying the semiotic viewpoint of Roland Barthes.

The intent of this study is to explore what soma in dance is, how dancers can communization in dance, and what communication in dance is. This research will explore the contents of “Somatics”, which have been studied for soma in culture and dance research through a literature review. By doing so, I want to study what the soma is and how to communicate specifically in the dance. In addition, the research method is based on the experience of the direct soma of the dancer, which was also used as an auxiliary research method. This study is only one study exploring the way communication is done in soma dance. This study can be a small reference in terms of widening the horizon of communication rather than defining the problem of communication in all dance performances as one standard.

This study investigates the historical process in which ballet in Korea was constructed as fine art. Particularly, it focuses on the ballet’s abrupt and conspicuous growth right after Korea’s liberation from Japan. By delving into materials of the period including newspapers, this study conducts a discourse analysis to inspect sociocultural meanings of ballet as fine art in Korea. In the early stage of its importation, ballet had several disadvantageous factors to be regarded as fine art. It had linked to aristocratic formality, which was condemned by modern artists. Ballet’s exotic toe dancing thrived in popular entertainments such as revue. A turning point came with Korea’s liberation occurring with the end of the Second World War (WWII) in 1945. The fact that ballet suddenly became important when the need for constructing a modern nation was urgent suggests the nation’s key role in the change. While the international society was restructured by the global norm of nationalism, nations functioned as the agent of culture construction. The nation’s leading role in it freed ballet from commercial arena and from past association with aristocracy. Ballet could claim disinterestedness and public welfare, which were at the core of fine art. For constructors of national culture, ballet was a useful means, since it provided a transnational form that subsumed locality. Also, as a form of tradition, ballet afforded a connection to antiquity which was imagined to be shared throughout the nation. Moreover, ballet’s classicism embodied elegance and order, which were desired during the postwar era. In conclusion, the process of national culture construction was a key for ballet in Korea to be constructed as fine art. Ballet as a national emblem represented the nation’s level of civilization in the international society and a public monument for the members of the nation.

The purpose of this study is to reveal the realistic characteristics of Grotesques Realism in the Songpa Sandae Play, which is one of the Korean mask dancing, by applying Bakhtin's theory. In particular, this study analyzes focusing on interpreting the components of the dancing body as the meaning of "becoming“ The section III analyzes the components of the body, dance, props such as the mask and a doll, the accompanied music, and spatial structure with the framework identified in the discussion on Grotesque Realism. Ultimately, the essence of the grotesque realism of the Songpa Sandae play is to interpret the performer as a leading figure in generating the people's laughter and creating the people culture. Therefore, the study on dance of mask dance that cannot exist beyond the body of the performer needs to be treated with special importance.

The idea of Korean dance that humanity and art should conform to the nature of heaven and earth is in common with Confucius' Confucian thought of Confucius. And it is connected with the aesthetic reason of harmony of right personality and healthy body. This study analyzed the aesthetics of Korean dance through the unity of heaven and human and I Keji Fuli between the as aesthetic feature of Confucian textuality. First, Munmyoilmu has a human the aesthetics nature and aesthetic character with a human the centered feature that makes up the virtue and personality of individuals and further builds a beautiful human society together with oneself and others. Second, the Kang Seon‐yeong style Taepyeongmu Dance endeavors to make a world in which a pervasive behavior affects the social community and all people can live in a society where order is fulfilled. It is a form of harmony and order of the heaven and earth, mediating the sky and the earth. Third, Dongraehakchum Dance with an idle creature of the gentry’s dancing, expresses the moral nobility of Confucianism that the crane possesses. The aesthetic consciousness of the viewer can be seen through the dance of the moral sublime of the coexistence of heaven and earth.

“Nakhwayusu (落花流水)” is the term for a dance move that appears only in Chunaengjeon (春鶯囀) and Cheoyongmu (處容舞). “Nakhwa” means falling flowers and “yusu” means flowing water. Along with these meanings, this study aims to derive a practical image of “nakhwayusu” by comparing the meanings of its various literary expressions. This study also identifies the meanings of “nakhwayusu” used in the dance moves of “jeongjae” and examine the actually performed pattern of this dance move. The contextual flow and intrinsic meaning of “nakhwayusu” were examined through a classification based on the commentaries of 35 literary works from the Joseon Dynasty, and meanings such as Taoist hermit, paradise, retirement, nature, and time were identified. For the term “dohwayusu,” the pattern of quoting and following the expressions shown in “Dohwawongi,” “Sanjungmundap,” and “Eobuga” was confirmed. In the Chunaengjeon text, “nakhwayusu” is juxtaposed with another term “jwauilbuliljeon [to spread the sleeve and turn to the left and then to the right].” In Chunaengjeon, “nakhwayusu” is a utopian paradise with a beautiful fairyland, and the flying and adjusting of the hansam, a long sleeve used for court dances, shown in a colorful and abundant space and the motion of neat rotation can be pictured. In Cheoyongmu, “nakhwayusu” appears in the closing part and is the continuous movement of powerfully spreading the hansam on the shoulder diagonally upwards. Although this dance move somewhat lacks any historical basis in the literature, this move should be understood on the basis of the classics. This study aims to identify the meaning of the poetic term “nakhwayusu” and to understand its characteristics in order to provide a modern successor by laying the groundwork for the practice of jeongjae.

Dancing elements shown in Namsadang Nori organizationally and technologically intervene dramatically expressed performances. The effect of dancing elements is to insert dancing elements appropriate for performance elements, to extend artistic expressive areas, to add the beauty of composition and of form to performances, and to enhance the artistic completeness of performances. In addition, dancing elements combined with arts include aesthetic values to express the vitality and personality of performances and highlight performance characteristics artistically beyond technical skills. For these reasons, dancing elements in Namsadang Nori as a cultural prototype embed considerable significances. The expressive meaning of dance and the extended artistic area speak to the present audience. They also serve as a performance content that diversifies dancing elements.