This study examines the relationships between Rudolf von Laban and Nazi of German from 1933 to 1937. This study began to answer the question that ‘Did Laban have any relationship with Nazi?’. The result is as follows. Laban joined the Nazi and cooperated, propaganda in 1930 and rewarded with social status, economical support, and got a chance to performance, festivals, lectures organized by Nazi. The suggestions based on the results of this study are as follows. First, It is need to a new 'historical understandings'about Laban's relationship with Nazi and processing of refuge is needed. He joined the Nazi,assisted in their propaganda activities, and received salary from German Empire Culture Center. Also, he remained a propaganda official in late 1937. Second, There was two perspectives about the characteristic of relationship between Laban and Nazi: voluntary and coercive. Laban showed a little ambiguous attitude to Nazi in regards to his arts and propaganda's loyalty. Third, we need various perspectives about the relationships of Laban and Nazi and further study of effect of Laban's art and art activities.

The purpose of this article is to explain the characteristics of mind-heart and acknowledgement, emphasized in the practice of traditional korea dance, based on the theory of Wang Yangmyung's psychology. We examine the mind-heart, acknowledgement, and the art theory in 󰡔JJeonseubrok(the tradition records)󰡕along with the words emphasized by the masters of the traditional dance, and express them with a language that can be publicized. According to Wang Yangmyung's theory of psychology, we can say that what good mind stands for in "Good dance comes from good mind" is the state where the rightness is embodied in mind and that 'good dance' means the state where 'non-embodiment' of movement and 'non-embodiment' of emotion is realized. In particular, we must always pursue 'sincerity' in the domain of mind-heart, which we know alone. Through these languages, the internal and external value and meaning of Korean traditional dance can be revealed. There is a saying that "effective practice precedes theories of it." Effective practice of traditional dance has existed for a long time. However, the theory of its practice is not sufficient. This article attempts to theoretically explain the effective practice that has always been with us since a long time ago. This article has its significance in that it tries for the first time to theoretically explain the thesis of traditional dance, "Good dance comes from good mind" by using the mind-heart and the acknowledgement of dancer which was emphasized by traditional dancing masters. In particular, it is meaningful that it approached the theory of mind and acknowledgement theory of traditional dance based on the study of Wang Yangmyung.

The purpose of this study was to investigate the effect of job stress of professional dancers on organizational effectiveness. Specifically, we were investigated the effect of job stress on job satisfaction, organizational commitment (affective, normative, continuance), and turnover intention in organizational effectiveness. This study will be an effective way to improve the organizational performance. The data collection was conducted in professional dancers working in domestic professional dance groups such as National Ballet. A total of 300 questionnaires were distributed. A total of 257 questionnaires were used in the final analysis, except for 43 questionnaires that were inappropriate for the questionnaire response. Sampling was based on the convenience sampling method and the questionnaire was done by self-filling method. To analyze this study, we used IBM PASW 22.0 statistical package. The results of the analysis were as follows. First, interpersonal relationship had a significant effect on job satisfaction among job stress of professional dancers. Second, interpersonal relationship and external environment had significant influence on affective commitment and normative commitment among job stress of professional dancers. Third, surrounding expectation had significant influence on turnover intention during job stress of professional dancers. In conclusion, it was suggested that eliminating the job stress of professional dancers was important for enhancing organizational performance and organizational effectiveness.

The purpose of this study was to investigate the various aspects of the traditional Korean dance at the Pyeongyang Gisaeng School and the ways that their culture was transmitted through their activities. There is no doubt that the perceptions of Gisaeng have been negative or narrow-minded. Furthermore, Gisaeng has become a symbolic image of sexuality, and the narrow-minded stereotype of Gisaeng still remains today. However, there exists counter-discourse that enables a re-conceptualization of Gisaeng as the symbol of a cultural archetype. It is also necessary to assess them as the pioneers of modern culture creation. The Pyeongyang Gisaeng School, in particular, produced many entertainers in the early modern days through a stable and sustainable educational system. The school provided whole person education based on its systematic process and content to produce a host of entertainers instead of limiting its scope only to art. Dance education was allocated to the upper grades so that the students could take on the practice of dance after equipping themselves with the basics including music. I The school also embraced contemporary art in its education according to the flow of the times rather than remaining at the level of the tradition. This foundation of the school contributed to the big number of Gisaengs from Pyeongyang recorded in Yedanilbaekin and Joseon Mi-In Bogam and the popularity they enjoyed among the public through their various performance activities.

The purpose of this study was to examine and highlight Choi Hyeon’s dance, performed during his life as part of Korea’s dance history, in terms of its position in the art world. Choi Hyeon was born in Yeongdo, Busan on December 6, 1929 and passed away from liver cancer at the age of 78 on July 8, 2002. He entered the dance world in 1946 as a pupil of Kim Hae-Rang (金海郞) and learned the basics of dancing by emulating the teacher for eight years. His dancing career developed after his arrival at Seoul. Choi Hyeon was one of the most influential dancers between the 1950s and 1980s, and he acted as a choreographer and dancer, showing originality based on tradition, from the 1970s until his death in the 2000s. He also continued to teach dance from the 1950s until his death. Choi Hyeon broadly classified his works into large-scale dance dramas and small-scale dance works. His leading dance dramas included (National Musical Company of Korea, 1974), (National Dance Company of Korea, 1979), (National Dance Company of Korea, 1981), (Seoul Performing Arts Company, 1987), (Seoul Metropolitan Dance Theatre, 1992), (Seoul Performing Arts Company, 1999), and (Choi Hyeon Dance Performance, 2001). His leading small-scale dance works included (1976), (1993), (1994), and (1999). Choi Hyeon's dance world was broadly understood within the genre of Korea’s creative dance, but technically, it was a successful case of an advanced style in the genre of new dance. Choi Hyeon left his imprint on Korea’s dance history, while leading his life in the modern era, by his successful creation and performance of his works based on his theory of new dance-oriented reasoning among Korea’s various styles of creative dance.

In this study, we investigated the characteristics and methods of dance ekphrastic. We take a look at the concept of ekphrasis and then looked into the notion of ekphrasis in dance. Ekphrastic dance takes into consideration the historical, political and cultural context of the piece whilst interpreting its content. Ekphrasis accompanies dance studies, making intermediality an inherent part of the discipline. There have been few studies on ekphrastic dance, or the art of transforming dance works into text. This study uses methodology from literature studies by exploring books, music, digital ekphrasis. Such a study can give something as fleeting as a dance movement theoretical and historical weight. By transforming dance into words, we hope this study will provide new perspectives and extend the concept of dance research.

Purpose of this study is to determine idealistic boundary of aesthetics ultimately pursued by investigation of aesthetic contemplative norm defined by traditional philosophical thought inherent in the Korean Dance. The aesthetic consciousness and mental boundary formed from aesthetic contemplative norm of the Korean Dance has created the beauty of harmony, personality, and nature. This includes the 'life characteristics' precious as a human being, 'individuality' to respect an individual, and 'wholeness' that seeks harmony of an individual and the whole. The idealistic boundary of aesthetics inside the beauty with such characteristics can be summarized as follows; First, 'Spirit-energy (Ijeonghapiljeok) boundary of aesthetics' means harmonious relationships between reason and emotion. Namely, it aims harmony and unification between rational boundary and emotional boundary with artistic spirit to follow profound harmony of nature and to pursue new things. Second, 'Life-oriented boundary of aesthetics' includes lively appearance of substantive nature in a mind. It reveals that the appearance of nature itself is the origin of beauty and that 'life characteristics' that being alive itself is beautiful are true beauty. Third, 'Transcendent boundary of aesthetics' contains spirit of the heaven. United aesthetics boundary is to realize the order of nature and to pursue harmony of the boundary between nature Taoism and dance spirit. Surreal time and space world in freewheeling state without any confinement in dance is the best idealistic aesthetics boundary crossing over boundary between human and the god, boundary between reality and unreality, and boundary between labor and play through freedom of deviation. As discussed above, 'Korean Dance's aesthetic contemplative norm and aesthetics boundary' contributes a clue to aesthetically determine the original form of Korean Dance theory and the development. Aesthetic consciousness and aesthetic dignity of a work, and 'idealistic aesthetics boundary' will identify aesthetic categories to determine aesthetic characteristics inherent in the Korean Dance.

Hallyangmu is one of folk dances, in which the original form and archetype of Korean dance have been well inherited and recorded. Since its original forms were recorded in Gyobang Gayo (1865) written by Jeong Hyeon-seok, Hallyangmu has been inherited in various forms. It was passed down by gisaeng in the enlightenment era and performed as theater dance by Han Seong-jun. Notably, it is a dance drama in which narrative structure has been well recorded. Hallyangmu, has been inherited mainly in Gyeonggi region and Yeongnam region. Hallyangmu danced by Gang Seon-yeong and Jang Hong-sim, who followed Han Seong-jun’s style, was designated as a cultural asset of Seoul City in 2014 and has been most standardized in terms of character composition and narrative structure. Hallyangmu in Han Seong-jun’s style largely consists of four sequences: story of a playboy and a maiden;of a Buddhist monk and a maiden;of a playboy and a female barkeeper; and the final sequence for resolution They make.a story with the combination of minimized unit structure and seek an open space in which the story can be expressed in movements. The characters in the dance are a playboy, a maiden, a Buddhist monk (dark faced Buddhist monk) and a female barkeeper. When the playboy is seen as a subject, the maiden as an object, and the monk as an opponent, the dance is expressed in the triangle contrast structure in which two male characters have conflicts to win love. However, the structure centers on the maiden without direct conflicts between the Buddhist monk and the playboy, and personalities and characters come to the surface through concepts of behaviors.

The purpose of this study is to analyze papers on the dance motivations of dance majors in Korea and figure out the research trends in the area to establish a foundation for education for the dance motivations of dance majors and propose future research direction. For these purposes, the investigator selected total 64 papers published in Koreanstudies Information Service System, DBpia, Scholar of Kyobo Books, and e-Article from 2001 to December 2017. They were analyzed in terms of the academic journal of each year, subject, methodology, analysis of methodology, and research topic according to different analysis methods. The analysis results led to the following conclusions: first, there was a multi-angle distribution of the papers across 17 journals in the nation. As for research trends by the year, while there a single research in 2002, the research activities gradually had been expanded from 2006 to 2017. Second, the highest percentage of subjects among the papers were college students and graduate students majoring in dance. Third, as for methodology, quantitative researches were the most. Fourth, correlational research was adopted in most quantitative researches. Qualitative methods were also adopted in researches, but these researches were relatively meager. There was no literature study on dance motivations. Fifth, as for research trends by the research topic, researches on self-determination and regulation, an aspect of motivation, recorded the highest percentage. In short, researchers will need to employ a variety of methodologies and designs to prevent their findings biased in a direction in the area of dance motivations. Follow-up study will especially need to develop measuring instruments fit for the field of dance to investigate professional relations among variables related to dance motivations.