This paper looks at Formosa (2017), the last full-length dance work by the founder and artistic director of Cloud Gate Dance Theatre of Taiwan, Lin Hwai-min. As a former writer and trained journalist, he is a socially aware choreographer who expresses his concern for his society through dance. I first contextualize his oeuvre with his earlier pieces based on the theme of Taiwan such as: Legacy (1978), Portrait of the Families (1997), White Water & Dust (2014 double bill), and Rice (2013), leading up to this full-length multi-media production. I also explain the hybridized Cloud Gate corporeal training from the East (e.g. taiji daoyin, Chinese martial arts) and the West (e.g. ballet, Martha Graham modern dance technique), as I unravel how Lin Hwai-min executes his citizenship through choreography.

This case study research aimed to analysis the dance program to heal the unstable emotions of teenagers who experience school violent. The dance program was held at the A Welfare Center in Seoul for 10 sessions, 100 minutes per week. The program has improved the participants' unstable emotions and negative self-image. Participants want to express their feelings in a healthy way and find the positivity inherent in them. And they tried to improve their social skills by improving self-expression. After finishing the program, participants recovered the violence, depression and low self-esteem caused by wounds to the body and mind. It is meaningful that it has a positive effect on healthy relationships by learning how to communicate with other friends.

In this study, I apply the LMA(Laban Movement Analysis) system to analyze the movement of Taekyun. In this context, I think that if I can analyze the movement of Taekyun which is representative of Korean martial arts by the LMA, It will be a new opportunity to shed light on traditional martial arts from an artistic point of view. I especially focuse on the dancing elements of Taekyun. It is thought that the action of the Taekyun movement ​​resembles curve, because it avoids the fatal blow on the opponents. Taekyun is embodied a unified gesture through the tempo of strength and weakness, with softness in its movement. I explore the physical aspects(Body), qualitative aspect(Effort), shape of movements aspect(Shape), and spatial aspect(Space) of LMA in order to illuminate the aesthetic elements of Taekyun. As a result of the analysis, the dancing elements of Taekyun are found as follows. First, in the body part, I find a common feature that is connected naturally by Breath Support and Core Support. Respiration strengthens the meaning of each action in the three movements(pumbalbgi, hwalgaesji, neunjileugi). Second, in terms of quality(Effort), I find the properties of Strong Weight and Quick Time. A common feature of the Effort is the rhythm state. It can explains the reason why Taekyun is similar to dancing movement. Third, the spatial aspect can be seen as a Directional Shape, but it can not be completed unless Shape Flow is emphasized. Fourth, in the aspect of the Shape, it can be seen that there is a Central Tension when you raise his leg to defend himself or when he turn his arm to defend from his opponent's attack. I hope that this study help the LMA to be applied to the various fields in order to the value of movements.

This study aims to reorganize the chronology of the deceased Kim Suk-ja's life as a dancer, the holder of the National Intangible Cultural Asset No. 97, Salpuri dance. In particular, the chronologies of Kim's dancing activities presented in the pamphlets of her memorial concert which has been held for 10 years after her death show inconsistency and errors. Therefore, this study attempts to correct them. She had carved a place for herself as a traditional dancer while doing activities as a Shamanic dancer in Seoul since 1976. As a result, part of her chronology that displayed the schedules of her activities since then was made public by newspapers and therefore is reliable. On the other hand, information on dancing-related activities from the Japanese colonial era to the 1960s by Kim Suk-ja, who was born in 1927, is unclear. Her chronology during this period does not sufficiently reflect her dancing activities or provides incorrect information. Therefore, this study corrects and reorganizes her aspects of learning dances during her early years and information on her activities in Daejeon from historical contexts.

The purpose of this study was to examine the opinions of experts in dance performance about the barriers to the popularity of contemporary dance, ways to improve the popularity of it, and relative importance of an effort to seek ways of boosting the popularity of Korean dance focusing on Communication. It ultimately meant to improve the harsh performance environments for dance, which was caused by inadequate finance, in order to put performing arts of dance on the right track in the modern society. In the first stage, in-depth interviews were carried out to find out problems with performing arts of dance and how to resolve the problems. The subjects in this study were 20 experts in performing arts of dance who were selected by purposive sampling. In the second stage, a hierarchical structure was generated about how to increase the popularity of dance, which were found in the first stage. Third, analytic hierarchy process(AHP) was utilized to measure relative importance and priority. The findings of the study were as follows: Five areas and five methods were selected as a means to increase the popularity of dance on communication. Five areas were audience communication with the choreographers, communication of the artists and artists, communication between staff members, communication between the audience and the artists. As a result of making a pair wise comparison of the five areas, 0.282 with a significantly higher weight, the choreographer's identification of audience requirements was selected as the top priority. Second was to improve awareness within the dance community 0.170, third was a variety of ways to increase collaboration 0.120, fourth was a constitutional directions of unity for the work of the staff 0.095. Fifth, star choreographers and star dancers nurturing and hiring 0.086.

This paper examines the ways commercial screens use dance and analyzes the meanings that dance actually produces, focusing on the love reality TV show called "Somebody", which was broadcasted on a cable channel Mnet from November 23, 2018 to February 8, 2019. By referring to the sociological analysis of Eva Illouz. I observe how “Somebody” applies and utilizes the two elements of physical sexiness and emotion, which are pointed out to be the most important requirements in the architecture of romantic choice by Illouz. “Somebody” actively uses dancing as a display of sexiness, which consists of the body, movement, and physical contact. Also, “Somebody” emphasizes dance as a space for identifying and expressing the authenticity of emotion. This kind of display has the effect of institutionalizing the popular imagination about dance with its stereotypes bounded with love and sex. However, the reactions of the viewers, which are revealed through the comments on internet, and the professional dancers’ words and behaviors show a possibility of an oppositional reading of the program.

The contemporary notion of choreography as a structural system of human movements in diverse contexts becomes radically challenged in the context of digital performance. Digital performance works that do not necessarily have human dancers, but instead present digital images and sounds can hardly be seen as choreographic practices in an orthodox way. In this article, I primarily investigated how the notion of choreography is reframed in the context of digital performance by delving into the entanglement of choreography with a computational system. In creating an human-computer interface, choreographers shed light on how the human subject is perceived, cognized and embodied through the entanglement of its corporeal body and the machine. Then, their choreographic sensibilities substantiated in the interface design process do not constitute embodied knowledge of the human body as a biological organism, but that of the posthuman body as an integrated being of the biological and the mechanical. In this sense, I argue that postchoreography as a mode of choreography for the posthuman necessitates the understanding of how a machine perceives a physical input and acts upon a virtual world.

The purpose of this study is to interpret One Mind's Two Aspects and Three Greatness view in the Muae-mu of Won-Hyo as the same principle in dance, and to examine the essence and the underlying meanings of its phenomena. To this end, research focuses on One Mind's Two Aspects and Three Greatness of Won-Hyo through Awakening of Faith in the Mahayana. The implications for Muae-mu as a representation of One Mind are as follows. First, Muae-mu makes representation of One Mind as a part of phenomena and essence. One Mind's Two Aspects Muae-mu is a phenomenon to which the principles of body, form, and action are applied. Second, Muae-mu is a communication and healing dance as a means of popularization through art. Third, the ultimate goal of Muae-mu is to deepen insights of human beings and to return to their inherent nature. Fourth, it seeks concrete actions on a daily basis through the practice of One Mind. Fifth, it encompasses 'magnetization' and 'indigenization' based on Won-Hyo's enlightenment. Sixth, the aesthetic value in the art can be identified with human value in that it represents the human mind and philosophy. Dance is not an idea but a lived dance of living. This study suggests that the sincere and essential mission of dance is to vitalize the sense of living within the ever-changing world and to make a whole-person language of the body that combines the substance and the phenomena.

This research analyzes Chun-Heung Kim's Seungmu, which he learnd from Sung-Joon Han, illuminates the world of traditional dance by Chun-Heung Kim, and identifies the legacy of Sung-Joon Han through a comparative analysis between Kim's dance and Young-Sook Han's Seungmu. The results are as follows. According to the comparative analysis of two Seungmu, Chun-Heung Kim's Seungmu is characterized to follow the basic outline of Sung-Joon Han's Seungmu, but its steps are more dynamic and it creates the simple world with artless movement of monk's robe. Thus, folk dance by Chun-Heung Kim through the Seungmu represents the world that are shaped by combination of dynamic exhilaration through steps, the beauty of simplicity of the movement with monk's robe without exaggeration, and the beauty of moderation.