This study aimed to find the somatic movement principles inherent in KoukSunDo by analyzing systematically personal experiences, which KoukSundo training methods had treated at the individual level with a focus on self-awareness and self-feeling only on self-awareness and self-feeling at the individual level through the body and mind training methods of KoukSunDo and the somatic materialization(embodiment) processes based on the "BRACED," which is the fundamental principle of somatic movements. Conducting a research on the training of KoukSunDo according to this principle of somatic movements will be significant to establish the practices of KoukSunDo as an academic area and thus increase their values.

The study analyzed the Naegijeonsinhaeng method in the training stages of KoukSunDo to analyze the principles of somatic movements inherent in it. These principles include the Breathe principle inherent in Danjeon Breathing; the Relax principle inherent in Simpyeonghwagi as a peaceful state of mind; the Align, Connect principle connecting the mind and harmonizing the mind and the body through the alignment of the body; the Expect principle sending energy to each and every Jangbu; and the Dance principle moving like a big crane dancing leisurely. These findings suggest that the principles of somatic movements are inherent in the movements of KoukSunDo, which is a unique body and mind training method to the Korean people.

The findings of the study will contribute to the wide spread of body and mind training methods of KoukSunDo unique to the Korean people as somatic practice around the world like yoga and qigong.

Based on the practice PBR (Practice Based Research), this study investigates the entire process from the planning of Frame in Gymnasium Hall I of Ewha Womans University on Jun. 7, 2019 to its performance. It means textualizing and historicizing a performance work overcoming the ephemerality and temporality of the dance

Referencing the concept of the analysis method presented in “Frame Analysis” (1974) of a famous American scholar Erving Goffman(1922~1982), Frame consists of three sub-themes, “assumptions,” “experience composition and frame,” and “basic keys.” The choreographic purpose of Frame is to deliver a message to form the choreographer’s own frame independently and actively, rather than to passively adapt within the confrontation of frame.

The results of this study on the creation, choreographing process and practice to its performance are as follows. First, Frame’s intention and subject of choreography was effectively revealed through the visual and auditory elements. Second, I could be found from immersion in movements through my inner workings and breathing. Lingering imagery of breathing and feelings could be felt during the practice and performance. Third, expression of the researcher’s life direction in Frame helped building the choreographer’s artistic world. This paper will provide an opportunity for the researcher to gain researcher’s capability of research and grow as an artist in dance creation field.

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.

This study examines the court and private versions of Yukhwadae (六花隊, Formation of six flowers) of the Joseon Dynasty in order to identify the pattern of coexistent and exchange of different cultures such as the royal court and the private sector. The development and changes of Yukhwadae illustrate a way of cultural transformation of dance.

To clarify the cultural transformation of Yukhwadae, this study analyzes the court's documentary records centering on Akhak Gyebum (Canon of Traditional Music) and the civilian literature records centering on the records of Gyobang Gayo (Song of Gyobang).

In Yukhwadae, which was transferred to the public from the courts revealed through literature, all ritual articles of Dangakjeongjae, such as jukganja (pole bearer), uimul (instrument), and changsa (song or chant), were eliminated, and the overall format was simplified. In addition, the content of dance was selectively accepted and reinterpreted, and costumes and music were transformed to be suitable for the private sector. Therefore, through this study, it was found that the strict form of the royal court Yukhwadae was exchanged with the private sector and transformed into a popular and diverse form suitable for civilian performances.

As such, it was found through the results of this study that different cultures were exchanged between the royal court and the private sector during the Joseon Dynasty. I suggest to consider dance from a perspective of cultural exchange, researching various dance cultural exchanges, and contributing to the development of dance.

This study developed a Wholeness program and verified its effectiveness at preventing cognitive degeneration and maintain residual body function of the elderly with dementia. The subjects of this study were A1 Elderly Welfare Center Day Care Center, the 20 elderly with dementia as an experimental group, and A2 Elderly Welfare Center Day Care Facility, the 20 dementia elderly as an control group. A Wholeness program was conducted once a week for a total of 30 weeks for 60 minutes. As a result, in the experimental group, except for cognitive function (LOTCA-G), K-MMSE (Korean version of Mini-mental state examination), cognitive impairment (GDS), functional fitness (SFT & BBS), and daily living ability (K-ADL), there was a significant difference in all of them, and there was a significant difference in the comparison of the correspondence of the experimental group, confirming that the Wholeness program was an integrated cognitive and physical health program for the elderly with dementia. This result confirmed that the Wholeness program was an integrated cognitive and physical health program for the elderly with dementia. It is expected that the results of previous studies that were lacking in timeliness and academic context will be supplemented.

This study aims to address the issues of dance and national borders focusing on the impact of political and ideological border movements on art and culture. First, I examine the concepts of deterritorialization and reterritorialization and discuss their implications on art and culture. Next, I review the case of German Reunification, to draw parallels with its experience with division and reunification to Korean dance history. Here, I explore the historiography of East German art that faded due to the predominance of the West after reunification. I suggest that it is important to ask questions about the foundation on which I stand in order not to otherize myself and others. A balanced perspective shall be sought to embrace the complexity of personal history that an official narrative may miss. I finally propose to have a broad view that goes beyond not only the borders of division but also the borders of unification.

This thesis examines the current status of the dance research of North Korea in three areas: research on dance history, research on dance theory, and the transmission and research of the cultural dance heritage. We investigate comprehensively by looking into the history of North Korean dance by identifying the artistic purpose of North Korea and the ways dance history books organize its history, and the research trend. In particular, it should be understood correctly on condition that the ideology contained in the dance, the social-cultural context, and the dance as a comprehensive art must be studied in paralleled with various theoretical systems, aesthetic characteristics, principles, and methods from a multifaceted perspective.

The history and culture of dance that could not be explained with old materials alone have been identified scientifically, newly established, and systematized in North Korea, and based on this, North Korean dance scholarship focused on the study of theory and method on the issues regarding transmission of the excellent traditions and dance heritage of the nation. This focus become an important guideline to the development of dance art in North Korea.

In addition, more systematic theoretical studies have been conducted in various ways, including Korean dance history, basic dance theory, and dance notation. These studies are significant in laying the foundation for the systemic and scientific study of dance theory. That would support the basics of dance, dance creation, and theoretical investigation.

This paper presents an experimental discussion that examines previous literature and controversial discourses on dance history of Korea in order to suggest new ways of writing dance history. The dance history texts of the premodern time of dance history are mainly written by An Hwak, Kim Jaecheol, and Seong Gyeongrin after the Japanese rule. Most of these texts are restricted to introduce court dances in the literature due to the limited number of surviving materials. I suggest that dance history of premodern Korea would be discussed with more variety and depth if social and cultural perspectives are adopted. There are various discussions developed about the descriptions of modern dance history, however there is room for improvement in regards to the poor perceptions of the independent starting point of modern times and the concept of modernity. If the descriptions of dance history in Korea achieve expandability by embracing different genres and various literary methodologies as well as syntactic descriptions, the scope of awareness will broaden further for dance studies.

This study aims to record Bae Myeong-gyun's introductory course of basic dance in chronological order in which the researcher studied the lower body, foot, upper body, and tone breathing method. Bae Myeong-gyun did not promote the dance himself on the stage. It can be seen that the method of stepping on the lower limb, the upper limb, and the tone breathing method are logically clear. This can be referred to as the principle of wood, the principle of plants, that is, the dance teaching method huses with the principle of nature.

This teaching method will provide a way that students and the general public who are initiating to learn dance approach to a dance principle and will become the model of all dance.

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.