Based on Pierre Bourdieu's theory of the field of cultural production, this paper focuses on historicity in the field of ballet in Korean Society. Using quantitative content analysis of major daily newspapers, this paper intends to examine the composition of artists' occupational groups and professional ballet careers, as a measure of autonomy in the field of ballet in Korean society. This study found that 1) since the 1980s, choreographers of ballet have attracted more attention than artists in other genres, and 2) while educational capitals is still a strong element, the autonomous hierarchy of a professional ballet career is emerging in the field of ballet in Korean society. In conclusion, it may be said that the field of ballet Korean society has strengthened in autonomy.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

This study aims at considering on Japanese postmodern dance, by researching Hijikata Tatsumi’s Ankoku Butoh, Dance of Darkness, which is known for most famous avant-garde dance of 1950s in Japan. Hijikata’s Butoh, started with Kinjiki in 1959, was an entirely new dance form having different qualities of expression from the other dances such as classic ballet and modern dance at that time of Japan. Mostly showing the experimental attempt on the stage by ordinary movement from the late 1950s to the early 1960s, Hijikata changed his performing style from his work in 1968, Hijikata Tatsumi and Japanese – Rebellion of Body. That means that Hijikata tried to make his own movement method. This study focuses on ‘Butoh notation’ as the principal reason of changing movement style of Butoh. By analyzing the existence of Butoh notations and contents of them, the research would figure out the actual relation between notation and creation of a new style.

Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.

Dutbeki is a local dance which has been transmitted by customs in Kyongsang area since ancient times. This is a formless dance that each of the villagers enjoyed with their own colors at seasonal farming events in the past. Today, however, Dutbeki is disappearing with a rapidly changing social environment. In this situation, the researcher is going to study the origin and present condition of Dutbeki, local dance of Ulsan area, to protect and transmit it to the future. The method is as follows. Regarding the origin of Ulsan Dutbeki, the researcher reviewed the records of life from the past in Ulsan area. As for the current status of transmission, the current status of the natural handover of Dutbeki in Ulsan area and the current status of it with the participation of the researcher, a native of Ulsan, are discussed. The folklorist Jung Sangbark has established Dutbeki, which had been called as a generic name, as a local intangible culture by attaching a local name to it. As a result, Dutbeki in Ulsan area was designated as Ulsan Dutbeki and the value as an intangible cultural heritage was obtained. In this context, this study has made an accomplishment of confirming the identity of the intangible cultural heritage in Ulsan by establishing the origin of Ulsan Dutbeki and examining the current status of its inheritance.

The essay starts with a reference to the rhetoric of nationalism around a recent event when Draupadi, an adaptation of the translation of Mahasweta Devi’s short story by the same name was staged as a play, by the students of an Indian University. The subsequent hate campaign and politicisation of a class presentation in the University shook many people in gender and feminist studies. The reading of the play as anti-national and not recognising its importance within the discourses within studies on gender, civil rights or English literature was seen as an extension of the political propaganda in the society. In light of such complete marginalisation of issues of violence on women, this paper tries to bring together different ways in which the woman named Draupadi becomes represented in performances around her in India - travelling across time and geopolitical spaces–where again Draupadi surfaces as a character depicting strong resistance against army atrocities. In its non-linear narrative, it attempts to see Draupadi’s travel through time and space of performative representations as choices of reflections put forward by performers–thus giving her a specific role as the representative of women as vulnerable subjects in Indian society. The paper draws on examples from dance and theatre that are directly based on the story of Draupadi, a central female figure in the Indian epic. It also draws on the story “Draupadi” written by Mahasweta Devi (translated by Gayatri Chakraborty Spivak) and its theatrical rendition. Finally, it looks at a real life situation in Manipur, and its possible connection to the theatrical representation it came to resemble. This paper is written to reflect upon the position of women in the context of national honour and hegemonic structure of patriarchy, taking the story of Draupadi and its after-Life.

In this essay, I explore the relationship between dance, choreography, violence and torture, particularly in relation to the television show So You Think You Can Dance. I argue that the act of choreography can sometimes be thought of as a violent encroachment on the body, and consider how torture and abjection are concepts useful to unpacking this power dynamic, particularly when dealing with torture as mediatized visual pleasure. I end with a short analysis of torture in Luca Guadagnino’s 2018 remake of Suspiria.

The period from the late 1930s through the 1940s was a tumultuous time in China because of two devastating wars—the War of Resistance Against Japan (1937-1945) and the Chinese Civil War (1945-1949). This essay examines the impact these wars had on concert dance, at the time still a newly emerging art form in China, by examining the case of Liang Lun 梁倫 (b. 1921), a dancer from Guangdong who began his dance career during the 1940s. Although Liang is widely considered to be one of the founding figures of modern Chinese dance, he has received almost no attention in the English language scholarship. This essay thus serves as a preliminary examination of Liang’s early choreographic repertoire, as well as a reflection on the ways in which Liang’s experiences reflect broader trends in Chinese dance during the wartime period.

This paper explores the concept of 'Performing Body on Stage' based on the choreographic work Glory which considers the critical point of view on system and body in relation to Korean sociocultural context. Glory focuses on the physical experience of Korean male dancers, experiencing the military service and dance competitions, questions the system recreated in the body, and asks "is the body free in dance?" To shape this into work, the dancer’s reflective testimonies are used as the materials of choreography, and the conceptualized and contextualized structure is developed into the form of ‘choreographic documentary’. In this paper, I refer Judith Butler’s proposal on ‘vulnerability and resistance’ to construct the frame of this study. I analyze the choreographic approach to the dancer’s body and how a ‘vulnerable body’ can be transformed into a ‘political subject’ through the choreographer’s practice in Glory. When the apparatus which are invisible but attached to the body are visualized on stage, the body exposes the social and political form. In this sense, finding the index of precarity associated with physical vulnerability was not only the process of choreography but also becoming subject in this work. Having physical autonomy in dance is that one actualizes the potential of artistic creation latent in individual diversity, not the military body identity, which moves in an interminable manner with the same identity. This artistic act of the choreographer is political as well as aesthetic in terms of re-asking about the nature of the dance and contemporary arts at the same time.