The purpose of this study is to investigate the dance life history of Jeong Jae-man (鄭在晩, 1948-2014) based on the documents. This study was to lay the foundation for future studies in order to overcome the limitations of insufficient historical data on Jeong Jae-man's dance due to his sudden death and the lack of theoretical background for posthumous studies on his dance. The data used for this study was collected from research data, media articles, interviews and other materials, the research method was studied by classifying chronological order in the total form, which is the method of text analysis in the study of living history. As a result, the dance life history of Jeong Jae-man was divided into five categories: the first period ‘Growth’, the second period ‘Activity’, the third period ‘Career-Building' and the fourth period of ‘Handing down', and the fifth period of ‘Transmission'. The study is expected to provide useful academic data to his junior colleagues who preserve and transfer his dance and to serve as an evaluation reference in analyzing the historical flow of intangible culture. The study is expected to provide useful academic data to younger generation of students who suceeed and preserve and his dance and to serve as an evaluation reference in analyzing the historical trend of flow of intangible cultural assets.

Following the drastic increase of elderly population, Parkinson's disease has become the second-fastest growing disease after dementia. Parkinson's disease is a chronic degenerative disorder of the cranial nerve system caused by the lack of dopamine, which controls body movement. The disease is a physical impediment that affects daily life of patients and it may progress to dementia. At present, Parkinson's disease cannot be completely cured and the patients depend on medical remedy, surgical therapy, and physiotherapy. However, the existing medical treatment has produced several side effects. As a result, movement therapy, which relieves physical disorder and restricts the progress of the disease without causing side effects, is receiving increased amount of attention these days. This study focused on the movement therapy program aimed at the improvement of physical impediment caused by the symptoms of Parkinson's disease and analyzed the existing domestic and international studies. The purpose of this study was to highlight the importance of the movement therapy for the Parkinson's disease and propose efficient methodology. This paper also introduces efficient and practical movement therapy programs that can be easily applied in clinics. The literature review on the application cases of the movement therapy program for patients with Parkinson's disease proved that Feldenkrais method was the most efficient method of relieving physical impediment among early-stage patients. Clinical studies have already proved multilateral movement therapy effects of the Feldenkrais method in diverse fields. This study introduced Feldenkrais method as a prevention and treatment scheme of the Parkinson's disease and proposed the potential design of the movement therapy program based on the Feldenkrais method.

The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

The study examines Sartre's existentialist philosophy and Ericsson's theory of self-identity development in order to understand and advocate the need for elementary school dance education. Movement through the body can develop self-identity. This is because physical expressions that expose the interior to the outside help to autonomy and achieving. By expanding physical abilities and improving expressiveness, a child can develop his or her own identity. Considering that children grow up amid various social influences such as school life, an appropriate dance education is needed to help elementary school students to culture a healthy self-identity. Dance education provides an aesthetic experience for children to come into contact with society, and affects not only reflexive thinking but also self-identity. A proper approach to dance education in the elementary school years, when children experience sociality after infancy, will not only achieve balanced development, but also contribute to the complete self-identity of the child.

This paper examines the implications of the current status of street dance in Korea, which is rapidly growing aided by institutionalization in the cultural industry and education market. This study begins with the researchers' recognition that situations requiring a clearer definition of street dance-related terms frequently occur. We interviewed street dancers from various positions to figure out the practical uses and perceptions on street dance terms. In order to illuminate the theoretical significance of the emphasis on stylized sub-genres, which was emerged as a core theme during the coding process, we refer to Paul DiMaggio's sociological study on classification in art. The findings are summarized as follows. First, various classification systems evolved as street dance in Korea transformed first emerging as amateur popular dance, moving on to cultural industry, finally arriving as professional art. Second, specific sub-genres are increasingly hierarchical, universally recognized, and ritually bordered, the pattern of which suggests a canonization. However, even during the institutionalization and canonization, street dance reveals complexities that do not fit into a static classification system.

By 1979, 95 culture and arts centers had been established, and there was an increase in the number of these centers every year from then on. In 2016, there were 229 culture and arts centers nationwide. The culture and arts centers established with the support of the government, needed the management of operation to suit local characteristics and environment with the lapse of time. To examine the operating state of dance performances of culture and arts centers, this study dealt with the performance record of the field of dance in performance halls from 2011 to 2016. Region, operator, and year were selected as demographic variables to make a comparative analysis of the trend in the changes of the variables. SPSS 21.0 was used to perform computational processing. The findings of the study were as follows: To the performance record of the field of dance in the performance halls, the total yearly number of dance performance cases was a mean of 2.6. and the total yearly number of dance performance days was a mean of 3.3. and the total annual frequency of dance performances was a mean of 3.9. Concerning the rate of paying audience in the area of dance, it stood at a mean of 15.2 percent, and was highest in Seoul. As the results, the number of dance performance days and the frequency of dance performances were low relatively to the number of dance performance cases compared to those of other genres. It implies that dance performances are given just on a temporary basis. Performance facilities that are tailored to the specificity of the genre of dance are necessary, and careful performance planning and assistance from the government are both required to ensure the continuity of dance performances.

This thesis examined the inherent meanings of the C-shaped movements in Chunaengjeon the Tang court dance reconstructed by Liu Feng-shueh. In this paper, we examined the cultural and aesthetic features that are contained in the breathing, basic movements, and morphological C-shaped movements portrayed by Li Chao as a feature of Chunaengjeon. First, C-shaped movements in Confucian thought appeared in two different forms: "C" in "Etiquette" and "C" in respiration. For the former, the C-shaped movements of "Etiquette" used the movements of Chunaengjeon in Japan and the form of "Etiquette" in Korea Ilmu for reference, in oder to be based Confucianism. As a result, the C-shaped movements of "Etiquette" showed characteristics of dignity and humbleness embedded in national culture of Tang Dynasty. For the latter, breathing of the C-shaped movement was inherently calm and harmonious by using the Taichichuan breathing method, which was derived from Confucianism and Taoism, that gathered the breaths from the pubic region and then pushed it down constantly. Second, the aesthetic of the C-shaped movements introduced various movement trajectories such as circular or straight lines in the static C-shaped movements in order to reveal the elegance and neat figure of the Tang court dance. The elements of imagination and beauty about the Tang Dynasty court dance were added into by Liu Feng-shueh so that ultimately aesthetic C-shaped movements were made with aesthetic sense. In addition, Liu Feng-shueh made aesthetic C-shaped movements from the Tang dynasty's court dress by learning from the characteristics of the dual structure of Japanese Chunaengjeon. This result suggested intrinsic meaning of the C-shaped movements in Liu Feng-shueh. Last but not the least, we were looking forward that Chunaengjeon could make a contribution to help reconstruction research the traditional dance of China, Korea and Japan.

The purpose of this study was to investigate the effects of professional dancers' achievement goal orientation and self-management on their dance commitment. Subjects of the study were professional dancers working in one of the national, provincial, and municipal professional dance organizations located in Seoul, Kyeonggi-do, Incheon, Gangwon-do and Chungcheong-do, as of 2019. For the data collection, questionnaires based on self-administration were distributed to the study population. 325 samples were collected and used for the data analysis. Corelation analysis and multiple regression analysis were employed, and each hypothesis was tested at the a=.05 level of significance. Through these research methods and procedures, the following results were derived: First, self orientation of achievement goal orientation showed to have a significant effect on all of the subsidiary factors of self-management: mental management, personal relations, training management and physical management. Task orientation was found to have significant influence on mental management, and physical management. Second, self orientation of achievement goal orientation appeared to have significant influence on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. However, task orientation did not show any meaningful effect on any of the subsidiary factors of self-management. Third, subfactors like training management, personal relations and mental management of self-management turned out to have a meaningful effect on both of the subsidiary factors of dance commitment: cognitive commitment and behavioral commitment. These results proved that professional dancers' achievement goal orientation and self-management were the factors that were significantly related to dance commitment. Therefore, as the higher and better the professional dancers' achievement goal orientation and self management are, the better their commitment to dance become, it will lead dancers to higher degree of perfection of dance performance and consequently bring high quality of performance to their audience.