Hwangchangmu (黃昌舞) is a type of sword dance, which is based on a legend about Hwangchang Rang (黃昌郞), a member of the Silla Dynasty. The legend states that Hwangchang Rang (黃昌郞) bravely went to Baekje to slay the king with a sword. The dance is performed in commemoration of Hwangchang (黃昌 or 黃倡), who fought to the death for his country, Silla. During the Joseon Dynasty, Hwangchangmu was dance indigenous to the Gyeongju region. In the late Joseon period, Park Jong (朴琮 1735-1793) stated that Hwangchangmu had been passed down from the Silla Dynasty for nearly 1,000 years and people at that time thought that it was the best dance in the East. The dance, which had been performed at Gyeongju Gyobang during the Joseon Dynasty, was suspended during the period of Japanese colonization. The objective of this research is to establish a basic theoretical background that can be used to restore Hwangchangmu in a contemporary context. Particularly, it is part of an effort to restore Hwangchangmu, which is described as one of the ten dances from the Silla Dynasty (新羅十舞) in Donggyeongyurok (東京遊錄) written by Park Jong. Since its sentences are brief and the contents are rough, related materials are collected and analyzed from the Akbusi (樂府詩), which is a literary anthology that was written by many literary figures and originated during the Joseon Dynasty. The research suggests that the past dance culture of Gyeongju Gyobang should be examined. Also, the study of Hwangchangmu is expected to contribute to a newly illuminating and understanding of native art and culture in provincial regions.

This paper aims to find how to utilize the dance of Silla era by figuring out what are the characteristics of dance are based on Silla people’s life and how it had been used historically. The characteristics of dance based on Silla people’s life are classified as those of amateur and of expert. Amateurs danced in various fields of life. There was dancing entertainment during community labor which was led by women. A woman monk comported life’s worries which were not able to be avoided even by Buddhist priest by making humorous dances. Wonhyo announced the name of Buddha by Muaemu. Silla nobles maximized their pleasure in parties by dancing entertainment and made drinking parties fun by dancing penalty. A king of Silla danced and sang a song when life’s worries resolved. Hwarang displayed patriotism by a sword dance. There were three characteristics in expert’s dance. First, Silla set a high value on moderation and self-control by aiming for dance joyful but not dissipated and sad but not grievous. Second, people considered pleasure and enjoyment as a root of dance creation. Third, dance took a key role in performing arts of Silla. Silla dance was used in history of Goryeo and Joseon dynasty. Muaemu and Cheoyoungmu were consistently utilized in dance by amateurs and experts. Cheoyoungmu which was utilized by expert’s dance in Chosun dynasty was performed in events of royal family, ceremony, events in local government offices, and private rituals. Hwangchangnangmu was consistently utilized in Gyeongsang Provinces as considered as Silla dance. Currently Silla dance can be utilized in Gyeongju in varying purposes. It is expected to continue Silla people’s life dance in various ways even in the present times.

DUTBEKI is a dance which has been most widely performed by public folks in many parts of KYUNGSANGDO. ULSAN is within the cultural sphere of KYUNGSANGDO. This study intends to analyze the motion forms of a DUTBEKI which have been performed in ULSAN district through an aesthetic approach. This DUTBEKI has been transcended from the past according to the customs of public folks. It was diversely grafted into village shrine rituals and seasonal customs derived from agriculture. As to the form of dancing, it could only be seen as a formless primitive gesture, in the process of dancing in the excess of their mirths. But it has an implicit sense of ritual. It also has politeness and stylishness. So, whenever this dancing was performed in a feast, the loud noise died away and village folks held their breath saying only 'good!' as a cheering word. Needless to say, everybody danced his own dance boasting of his own stylishness in a round circle called 'NANJANG'. The researcher has taken part in these village feasts of ULSAN district and enjoyed this dancing together with village folks from 1981 to 2018. As to the method of analysis, on the basis of this field experience and different documents, the researcher identified and sheded the light on the unique traits of flow and repetitive common motions in this dance from aesthetical standpoints. This approach will help to establish ULSAN DUTBEKI as a cultural asset of ULSAN district and give a basis for preservation and transmission of it.

This is a research of Choi, Seung Hee dance, tour of USA, Europe, and Latin America. The tour of USA research covers the first USA performance initiated in San Francisco 1938 and the second one in 1939 which had purpose of avoiding the European War. The tour of Europe research covers from January 1939 in Paris right after the first tour of USA to the performance in Hague, Netherlands. The tour of Latin American research covers from the performance in Brazil in 1940 to the performance in Mexico after the second tour of USA to avoid the Second World War. The activities in the Communist bloc in Europe after Choi, Seung Hee's defection to North Korea have been excepted from the tour of Europe research. According to Professor Jeong, Byung Ho, Choi, Seung Hee created more than 310 works throughout her life. And it is shown in her own records of conversation that she had over 600 dance work performances during the world tour. Also, Professor Kim, Ho Yeon says that there are more than 600 news articles in The Chosun Daily News, Dong-A Daily News, Maeil Shinbo during the period of Japanese colonial rule. Currently, over 100 studies of Choi, Seung Hee can be found as preceding results. Among these works, performances, recordings, and researches, lots of errors appear when translating expressions of the countries where the performance took place to our expression and when interpreting those translated materials as primary source and analyzing with our method which causes so much confusion to the research when quoting them as well. The motive of this research is to minimize those confusions. Along the process, by translating primary sources from around the world, the unification of expressions in our terminology which Choi, Seung Hee originally used was conducted as well. This research may have some omitted areas since only confirmed information in primary sources was researched. Choi, Seung Hee presented steadily during the world tour and the materials for the creation were about Korea and legends of Japan. She stated in her performance fliers that she is 'Korean Dancer' and also put her Japanese name 'Sai Shoki'. This can be understood as reflection of difficulty of the era. The fliers contain the title, music, and, in most of the printouts, the warning for the copyrights. This can be the pride of her creation and the result of an artist's rights practice. As a result, proposing the pamphlets and evaluation data of each performances of USA tour and proposing the actual repertory and contents of performances by discovering Europe tour pamphlets (Paris and Germany) are considered to be meaningful works in the history of Choi, Seung Hee research.

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.

The purpose of this paper is to examine how nationalism has been operated and emerged in the process of establishing the National Theater of Korea and Sejong Center for the Performing Arts, National Gugak Center, and Seoul Arts Center. I analyze the records about the construction of the theaters from the viewpoint of nationalism. Also I examine how the nationalistic view had been expressed architecturally and how the characteristics were revealed in the performances. The history of the construction of the theaters was entirely led by the state during the 3rd, 4th and 5th republics. The 3rd, 4th and 5th republics, all of which had been ruled by undemocratic regimes, emphasized nationalism in order to compensate their lack of legitimacy. The ‘nation’ has worked as a very effective concept to unite the whole people into a single identity, and traditional culture as well as art have been used as the most effective means of raising national pride. As such, the construction of the theaters as an infrastructure for expanding traditional performing arts was essential, and it was actively promoted in this background. At the height of this flow, which began in the 1960s, there was the 1988 Seoul Olympic Games.

The purpose of this study is to investigate the origin, types, and characteristics of dancing in the colleges rally scene before and after the democratization uprising in 1987. As its methodology, this research investigates previous researches, related data, and conducted interviews with related as well as reflecting on my own experience. As a result, the creative Talchoom movement that took place in the 1980s has developed into the dance and pungmool that was at the center of the artistic means to grasp the ideological and simultaneous will of the young students. In the rallies and demonstrations of the 80s and 90s, there were arts propaganda group in each university'. These dances with easy and simple movements were enjoyed by many and was used as a medium to express the will and spirit of youth. The dance was expressed collectively as the structure of cohesion and eruption type, and the four-beat dance made it easy for everyone to share with one another, and flag dance was often used as an inflammatory device. The dances of the university in the 80s and 90s was based on amateurism and functioned as a social activist dance that expressed the will to resist.

This study is aims to illuminate democratic tendency in Post-modern dance during the Postwar Era, especially focused on its political and social aspects. In the 20th century, especially during the sixties, the whole art of America under the counter-cultural environment was consisted mainly of radical idea and emphasis on the sprit of experiment. Intrigued by the opportunity that improvisation afforded to invoke an entirely unanticipated organization of things and events, experimental groups throughout the 1960s and the 1970s(Post-modern dance era) borrowed from jazz and its principles for composing in performance. To illuminate democratic inclination with improvisation shown in Post-modern dance, such as San Francisco Dancers Workshop, Judson Dance Theater, New York Chamber Dance Group, Workgroup, Grand Union, Contact Improvisation group. Post-modern dance era, dance groups allowed performers to share in a process of making work collectively, and many times this process extended to include the audience as well. At the same time that Post-modern groups appropriated for Asian and African identity, sex role to democratic tendency. As a result, in these group's dance, dancers applied improvisation to represent democratic thoughts and become aware of racial and sexual identity as well as the value of human body. Post-modern dance become more and more extended their ideas techniques and democratic inclination.

Past English-language scholarship on Choe Seung-hui has focused on her world tour of 1938-1940 and her work in Japan and Japanese-occupied Korea prior to 1945. Choe’s contributions to dance creation in the socialist world have been largely ignored. This essay expands on the existing scholarship by using Chinese-language source materials to examine Choe’s career in China and its implications for the connections between the pre- and post-1945 periods of Choe’s career. This essay documents three important parts of Choe’s work in China: her development of China-themed choreography, her adaptation of new dance forms from Chinese opera, and her training of the first generation of Chinese dance professionals. I argue that Choe’s work in China was continuous despite changes in political context. The project that she began in the 1940s as part of the pan-Asianist project of Oriental Dance later transformed by the 1950s into Chinese classical dance under socialist internationalism.