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 study suggested the effect and implication of the emotionalisation programme as an education or a training tool for enhancing face expression of performers utilising FACS which is based on facial muscle anatomy and muscle behaviour. For this purpose, this study limited the body range of the training from head to neck, showing how this programme could be applied to performers. In order to verify the effectiveness of the programme, this study measured the pre-to-post test of the WLEIS scale on emotional intelligence. In addition, observational logs, self-report journals, and in-depth interview data were collected to examine the psychological and physical changes of the participants. The collected data were analysed quantitatively using statistical analysis package IBM SPSS Statistics 22 as well as qualitative analysis using NVivo 12 software. As a result of WLEIS, the average before and after the programme showed a statistically significant difference. According to the qualitative result, participants began to observe self and others, and was able to perceive two aspects of universal and personal emotion. By putting the emotional expression of the other persons on own faces of participants, the clearer standard of the facial muscle behaviour was acquired, their facial impression was changed positively, and the new emotional arousal was brought up. Therefore, it discovered the possibilities of this emotionalisation programme not only to extend to the general public who improve their face expression for emotional purpose but also to be a foundation of the face training.

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.

This paper focuses on North Korean restaurants as a medium of culture and tourism. Prior to the analytical discussion, the researcher first summarizes the concept of 'Munyae', which North Korea uses instead of culture, in order to understand the basic historical background of North Korean art policy. The researcher understands dance and art in North Korea as a tool to express the representative ideology of the revolution, as well as the performances, which operate inside the North Korean restaurants, serve as an important means to secure government funds for North Korean authorities. Based on the understanding of the North Korean art background, this paper examines the dual suppression mechanisms presented by the North Korean authorities, and discusses the effects of body politics on restaurant performers. According to the results of this study, the North Korea interprets their restaurant in Thailand as a transformative device to hide the function of the restaurant, which is used as a medium of political support for the communist country while placing it in the tourism industry category. In addition, the North Korea suppresses the activities of female employees, who are the actual operators and performers, in the overseas North Korean restaurants, while allowing performances coming from other countries. This dual power mechanism manipulates the female performers' bodies that can flexibly cope with other cultures that have been excluded from them, and at the same time expects their bodies tamed with socialist ideology.

The purpose of this study was to examine the cases of community dance in America and to find out how to revitalize local dance. For this purpose, Marylee Hardenberg, who played a major role in the Mississippi River revival through a site-specific dance performance, Pat Granny's Dance program for Prisoner called 'Keeping the Faith' and Brooklyn's Care for the disable in a community dance program by Mark Morris were examined. In conclusion, the methods of activating local dances include first, use of specific places to create site-specific performance, second, development of programs for prisoner which can communicate with local publics and third, development various community dance program for disable.

Oyangseon (五羊仙, Daoist hermits of five sheep) is known as one of the fourteen dances of Dangakjeongjae (唐樂呈才, Chinese court dance). It has been performed since the Goryeo Dynasty (918-1392) as a royal dance transmitted from the Song Dynasty (960-1279) of China with a background of the Oyang (五羊, Five sheep) legend. The existing research on Oyangseon focuses on the transformation of Oyangseon, production composition, and narrative analysis based on historical materials, though with little examination of symbolic or metaphorical expressions in choreography. Oyangseon is a dance performance based on a folk tale set in Chinese Weo (越) culture. According to W. Eberhart, Weol culture was developed in combination with the Thai culture and the Yao culture. The present study aims to provide an interpretation of Oyangseon based on the motifs and cultural elements of Oyangseon’s tale from a Weol cultural perspective. Oyangseon's tale tells the story of five sheep delivering grain from the holy world to the human world for a good harvest and well-being. Oyangseon can be understood as a work strengthening or renewing royal authority by invoking the relation between spirituality and farming. Jukgan (竹竿, a bamboo pole) is a ritual-offering-object widely used in Chinese palaces and even in the private sector which represents the presence of deity. Meanwhile, the choreography of Jeonjae is same as the Chinese Ubo (禹步). Marcel Granet said Ubo is an expression of the one-legged goblin's walking (movement) in Chinese myth. The goblin can be recognized as the mountain god or mountain god's messenger whose appearance is interpreted as a metaphor of blessing to human world.

The aim of this research is to understand the dance culture in the government office space of the Joseon Dynasty (1392 ~ 1910). The objects of the analysis are 32 pictures of dancing in local government office space. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically, pictures of dancing in local government space appeared from 1580 to 1796, geographically from Pyeongando to Jeju Island. Most of the dance genres shown in the pictures were jeongjae. The performers in the pictures of dancing included female dancing entertainers called as ginyeo, boy dancers called as mudong, cheoyong dancers, and clowns also. Furthermore, the pictures revealed that a government officer and old men invited at the banquet danced together in the local government office space. This was because dancing was recognized as something wonderful that only a peaceful time allowed. In the Joseon Dynasty, the government office space was the place where people could enjoy dancing.

This study aims to examine the educational development of Choi Seunghee’s training system, particularly with a focus on the development patterns of Korean-Chinese dance education textbooks and characteristics of Korean-Chinese dance education textbooks at Yanbian University in China, which has inherited and developed Korean-Chinese dance based on Choi Seunghees training system.

The characteristics of Yanbian University’s Korean-Chinese dance education textbooks examined in this study are as follows. First, it is based on the method of organizing educational textbooks, which was identified in Choi Seunghee’s training system. Second, the contents that were not covered by Choi Seunghee’s training system have been comprehensively adopted into the textbooks, which thus came to be loaded with abundant educational content. Third, a training system is currently established focusing on the basics of women’s dance movements.

Yanbian University’s Korean-Chinese dance education was able to create educational textbooks that could support the current logical training system due to the Korean-Chinese dance educators’ devotion to research on Korean-Chinese dance education, which was based on the principle of succession and development.

The purpose of this article is to investigate the dance practiced in private spaces during the Joseon dynasty by analyzing paintings and literature. This study is the third part of a series of research exploring paintings depicting dances in various performance venues in the Joseon dynasty. While the first two researches were about dances performed in royal palaces and in public places respectively, this article analyzes paintings and literature of dances in private spaces in the following three ways.

First, dances performed in the personal social gatherings were divided into three types according to the subject: dances performed at social gatherings for the elderly, reunions of officials who passed the national civil service examination in the same year, and social gatherings for the middle class. These dances were performed to strengthen the community spirit or to appreciate the performances of professional young male dancers called mudong.

Second, dances performed to celebrate the longevity of parents on their birthdays are analyzed. In such events, the mother was considered the most important character as well as audience, and the concept of “filial piety” was emphasized in the “Son’s Dance.”

Finally, dances conducted in private folk venues are examined. Some of these paintings portray a son who dances as a “performer” to celebrate his parents’ diamond wedding anniversary. Other paintings depict a clown dancing in a three-day parade where a person who passed the national civil service examination visits his examiners, high-ranking senior officials, and his relatives.

This study sought to identify the effects of Sogo dance learning on brain function in elderly women. To this end, the subjects of the study consisted of 15 experimental groups participating in the practice and 15 non-participating control groups, with the practice period of 60 minutes twice a week for 12 weeks. Each group measured brain functional analysis with Electroencephalogram(EEG) before and after the experiment, and two-way ANOVA was conducted to determine the difference between group (small dance, control group) and period (pre-post) using SPSS 25.0 (IBM, USA). All statistical significance levels were p<.The following conclusions were obtained as a result of setting it to 05. First, the brain function index, which varied between the groups, showed significant changes in five brain function indices: basic rate coefficient (left brain, right brain), attention index (left brain, right brain), active index (left brain, right brain). Second, the brain function index, which differed over time showed significant differences in total of five brain function indices: self-regulation index, basic rhythm index (left brain), attention index (right brain), emotional index, and brain index. These findings could scientifically prove the unique characteristics and intrinsic value of Korean dance through the utilization value of Sogo Dance, and it is hoped that brain science-based dance research will take place in many ways