In this study, I examined how the succession and modernization of tradition has been emphasized through the articles related to dance in North Korea’s comprehensive art magazine Joseon Art focusing on its traditionality and modernity. The research method was centered on literature analysis and image analysis. In the literature, from the first issue of 1956 to the first of June 2000, 344 out of 468 articles were reviewed and analyzed. The analysis revealed that the majority of articles has focused on the discussion on the issue of inheriting and developing the people's dance heritage among the anti - revolutionary dance heritage and ethnic classical dance heritage. Based on socialist realism as a principle in succession and development, discourses in the articles have emphasized revolution in contents and have tried to create dance based on national characteristics in terms of form. I can see that the articles have strived to present the dance as a means of educating people’s ideology. The contents discussed in the Joseon Art from the 1950s to the 1970s were found to be further developed in the later period. North Korea has developed dance that promote the superiority of the Korean people based on Juche ideology. It was found that the principles related to dance decided before the 1980’s have continued in the “invariant law”.

This study focuses on strategies to promote new content based on storytelling with the case of in particular in order to make dance more mainstream. As the importance of intangible assets such as knowledge, creativity and information emerged in recent years, stories have been presented as a basic element of business to be commercialized. The story of Cheoyong is a leading example of where a narrative work that is latent in the subconscious of the public has been approached from various angles. To shed light on the artistic value of dance that uses the story of Cheoyong as its theme, this study reviews the contemporary patterns in which the story of Cheoyong has been adapted to dance performances. Moreover, , one of the major repertoires of the world’s leading ballet companies and one of the three major classical ballet works, is reviewed in terms of how dance content can be brought into the consciousness of mainstream culture. has also captured the theme from folklore of the West, just as in similar cases in the East. The storyline has become latent in the subconscious of the public that drives the art work, which then affected works in a wide array of art fields. Lastly, to review the universal value, the narrative structures of and were compared in terms of how stories can lead to a chain of reminders, thus shedding light on the trends in dance performe art.

This study attempted to examine teacher-dancer interaction, basic psychological needs and commitment to understand and provide knowledge in learning methods of university student majoring dance. In total, 337 students were recruited from the seoul and gyeonggi regional university student majoring dance. Statistical analyses(descriptive statistics, reliability test, correlations analysis, confirmatory factor analysis, structural equation model) were conducted using PASW 21.0, AMOS 18.0. Results revealed that teacher-dancer interaction positively predicted passion, as well as commitment. Basic psychological needs positively predicted commitment. In addition, basic psychological needs was partially mediated by teacher-dancer interaction on commitment in university student majoring dance.

This study seeks to compare expression media between Kim Baek-bong’s Korean fan dance, a traditional dance designated as an intangible cultural asset of Korea and Kagyadifu (かぎやで風), a fan dance of Okinawa in Japan. The study examines hand motions of the two traditional dances. The author used an index of KAMAKURA as an external analytical method, while focusing on interviews and oral records to understand inherent characteristics. The ethnic identities of the expression media were identified as follows. First, fan functioned commonly by physical awareness and recognition of the body. The fans of the two countries did not directly express objects such as letters, but tried to describe the shape of the entire object as an extended part of the body. Second, the fans of Korea and Japan were differentiated as abstract technique in the process where sensual wave was reflected in the body. Ryukyu dance did not express the lyrics in a graphical or realistic way as in the case of sign language. The expression of fans was not verbal. Fans made a symbolic display of yearning that the region - the island - had toward outside world. In Korea, more than 30% of group dance figuratively reveals intention of original authors or nature. This is an indication that Korea's new art dance was affected by modern dance of the modern times. Third, fans had multidimensional contexts in showing internal feelings. Korean dance depicts nature or intention of authors, and express inner feelings through various rhythms. Ryukyu dance expresses relations between a fan and a dancer abstractly by containing a joyful feeling of the performer, rather than venting the feelings. The comparison of intangible cultural properties of both countries could reveal that they harnessed the same expression media but showed difference in their unique national emotion.

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.