Dance education has the potential to improve the spirit, because of the essential of dance which requires the participation of whole mind such as the creative, emotional, moral, spiritual. Exploring the theoric and experiential grounds about dance and mind and heart education, this study is to guess the possibility of mind and heart education through the dance, and suggest the definite data. What dance contribute to mind and heart education are divided into four aspects: the intellectual, the emotional, the moral, and spiritual. First, dance can help one improve the creativity. For this, it is important to provide the chances of movement study, and use various sources and mediums. Second, dance can help one cultivate the emotion and sensibility. For this, it is important to help practice the movements, and recommend various indirect experiences. Third, dance can help one cultivate the personal and social virtue. For this, it is important to promote cooperative learning, and praise and encourage. Fourth, dance can help one improve flow, happiness, and self-realization. For this, it is important to take the lead, and recommend various indirect experiences. However, researches about its content and method are all yet to be inadequate. To rectify, theoric discussion in depth, developing practical teaching model and programmes, practice in various educational settings are needed.

This study is to trace the fundamental structure of how PKIP, which was developed by Anna Halprin, a dance educator, artist and the founder of Tamalpa Institute, is experienced by dancers. For this, we have searched the background in which PKIP was created and its work structure and executed a qualitative research on dancers’ experiences. Five professional dancers with their experiences of more than ten years in dancing and over six months in PKIP were selected as study participants. The study participants’ experiences through PKIP were divided into three main topics i.e. the penetrability among media, images as the inner teacher of creativity and the creative transformation of emotions and again, each main topic could be divided into two sub-topics. Through PKIP, the study participants experienced the whole system where they realized that their movements generated interactions between the inner images coming across the dancers’ minds and the outer images in drawings or poetic languages, and through these interactions, they came in and out of two or three different art media’s areas freely and let the media’s influences inter-penetrate each other. Also, they found out images were activated as their inner teachers of creativity. Through PKIP, they discovered the inner tensioned voices commenting on their own movements and could realize that creativity which they have as dancers expanded as they trusted their subjective images. Lastly, the study participants confronted their emotions in a different way from the ones they experienced in general dance performances and this became the resources for their new, good-quality dances, and also PKIP provided each of them with an important private area that the participants might have as dancers because PKIP dealt with their emotions just directly; the participants perceived all these they experienced as their importance experiences.

The purpose of this research is to explore if the Feldenkrais Method(ATM), a leading approach of the somatics field, is positively applicable to Royal Court Martial Arts. Three research questions were prepared to achieve the purpose of this study. As a research method, experiential description based on phenomenology was employed. The researchers of this study applied the ATM to a practical field of Royal Court Martial Arts, Pyung Soo Beop in particular for 100 days. Making the training logs, the researcher described them in a lingually representative way. The result of analysis and interpretation of the somatic data were as follows. First, what appeared on Sensory Awareness Training during the process of learning the ATM of the Feldenkrais Method, were largely categorized into three features. (1) ‘intentional exploration’-the process of recognizing intention through movement, (2) ‘relaxation and communication’- the process of delivering the intention of the movement and (3) ‘integration and arrangement’- a status that looks for and recovers a definite intention of movement. Secondly, the answers of the second research questions, were characterized by the following five features: exploration, concentration, coordination, integration, and energy. (1) ‘exploration’ is the first step to discover an accurate intention at the starting point of a motion. (2) ‘concentration’ is the step to recognize and understand the definite intention of a motion. (3) coordination is the step to recognize given information through the process of concentration, and then, to continue to look for the most effective way through a ‘coordination’ of organic movements. (4) ‘integration’ is the step to relax, transit, be aligned, and be recovered through the most efficient movement. (5) ‘ki energy’ is the last one, which not sequential, overall, so it is distinguished form the order of the other steps. Thirdly, the findings to the third research questions were as followings. (1) breathing was improved and changed to be easy, comfortable, stable, and deep. (2) coordination and balance were harmoniously improved. (3) through organic harmony of movements, the body’s alignment changed into a balancing and stable state. In conclusion, this study showed that Royal Court Martial Arts applied by ATM could improve performer’s sensory awareness ability in general, integrating function and structure by intentional movement, through which training of the Martial Arts could be improve in quality.

Recently, circumstances for dance creation are changed, so choreographers choreograph in various methods. For example, employee choreographer, guest choreographer, joint choreographer, assistant choreographer, repertory choreographer, musical choreographer, collaboration choreographer. The purpose of this study is to examine, based on Korean Copyright Law and precedents of Korean court, who owns the copyright in these various choreographic participation methods and the effect of copyright ownership. As a result, this study concludes as follow: First, in case of employee choreographer, when choreography was done as part of his job under employer's planning, a work was played in the name of employer and as long as they have no other set in a contract or employees' rules, employer has a copyright. If not, employee has a copyright. Second, in case of guest choreographer, he or she has a copyright. If client and choreographer have agreed to transfer copyright to client by the contract, only author's property rights are transferred to client and author's moral rights are left to choreographer. Third, in case of joint choreographer, when several choreographers created a work jointly, and each contribution part is indivisibly united, so it is not available separately, everyone have copyright. But when each contribution part is available separately, each choreographer has copyright to it. Fourth, in case of assistant choreographer, only when he or she created really to some degree, he or she has copyright with choreographer. Fifth, in case of repertory choreographer, when he or she changes original work enough to be accepted as new work by social norm and his or her work is actually similar original work, he or she has secondary copyright only to the new elements of the derivative work. Sixth, in case of musical, when choreographer creates dance part, he or she has copyright alone to it. Seventh, in case of collaboration, artists of different genres can't generally have copyright to choreography, however, when a fusional work was created jointly, everyone has joint copyright.

This study is on the eco-art from two dimensions, intentional and unintentional. As the cases of unintentional eco-art, the summer and winter ceremonies of Kwakiutl on west of Canada, written by Eric Wolf, and the winter ceremony Smila(Spiritual Dance) and related dances of Chehalis Indian Band are being considered. Unintentional conceptualization and realization as eco-art are investigated. The other one is on the intentional trials in contemporary societies for the integration of ecology and art. Cases of ‘performing nature’ are interpreted. Maehyang ceremony in Muan-gun tidal flat and related dance are considered. Rituals of Kwakiutl and Chehalis tell dances, as essences of rituals and as the subjects of expressions and communications, exist. The dances exist as the arts realizing relations between natural beings and human beings, realizing the transformation of natural beings, of human beings, of relations between human beings. Ecological relation between nature and man are realized from the immediate feeling and perception of bodily experience. The meanings of the relation are also produced from the feeling and perception. The term and concept of eco-art do not exist in these rituals. But realizing process of ecological relation and interaction is also the one of eco-art unintentionally. Body and dance are main subject and mediate of the process. Recently eco-art, the term has been used by some scholars and artists. But, in many cases the term is not used actually realizing eco-art. Some trials of modern art as ‘performing nature’, Maehyang ritual and dance as reinvented one composed of partial ideas from trasitional one are those realizing the issues and ideologies intentionally. As common phenomena in the two dimensions eco-art expresses ecological ‘relations’, not merely depicting nature. Commonly too, materiality of body and things on nature and human life, feelings and perception of them form the ecological relation.

An English terminology ‘community dance’ could be translated into Korean “Ji-yeok-sa-heo-ui-chum (Dance based Community)” or “Gong-dong-che-ui-chum (Communal Dance).” These kinds of community dance including “Ji-yeok-sa-heo-ui-chum” or “Gong-dong-che-ui-chum”, were nothing new at all, because they have been existed in every society and in every time. However, with boom of community dance in current Korean society, most Korea people are expecting that there are specifical meanings like ‘public concerns’ and ‘artistic value.’ Therefore, the purpose of this study is to define meanings of community dance while how this terminology is consumed by both in Korean popular society and Korean dance society. For this purpose, the researcher uses date analysis methodology. That is, the researcher analyzes data of news clippings and dance research list concerned with community Then, the researcher sums up the brief history of Korean community dance with external and internal approaches. In the historical approach, the researcher argues that how the term and methods of England community dance were combined with Korean communal dance. In the conclusion, the researcher suggests perspectives of Korean community dance.

The purpose of this study is to shed light on the artistry of choreographed by Kim, Baek-Bong from the view of ‘artistic beauty’ of G. W. F. Hegel. Since the first performance in 1959 at Won Kak Sa, has been transmitted and performed by her students. It has been performed for 6 minutes and 30 minutes; the order of compositions of the music for this performance is Jungmori in 10 beat, Jungjungmori in 12 beat, Jajinmori in 14 beat, and Hwimori in 70 beat; it starts with a slow tempo and gradually develops to a fast tempo. According to Hegel, ‘content’ and ‘form’ are the material components actualizing the art in the real world. The ‘content’, the expression of artist’s identity, consists of ‘Phantasie’, ‘Begeisterung’, and ‘Talent’, and the ‘form’, the method for logical expression of content’ consist of ‘Manier’, ‘Stil’, and ‘Originalität’. The content of is appeared through the creative imagination by natural subjects, snow crystal and cocoon, the inspiration consisting of internal motive, large flakes, and external motive, the necessity of designing a new work, and the unique capability(genius) for choreographing a group dance such as the number and positions of dancers and structural changes by musical and spatial compositions. The form of is appeared by the changes in linear form. The straight lines and curves in the work reveal the traditional patterns of group dances. Those lines secure the external formality through regularity, symmetry, and generality. Also, the uniqueness of is shown by the critical essays good at integrating and proposing the identity and characteristics of the work displayed at the title of this study. This study assures that is not only a performing art with good aesthetic content and form for artistic beauty but also a piece of art with educational value, as well as discovers the spirit of artist deep under its external splendor.

The purpose of this study is to analyse and comprehend the aesthetic elements of Herodiade performed the premiere in 1944. For this study the piece’s content was apprehended from texts, the written sources. In addition, the study suggests the internal aesthetics and formal aesthetics explored from technique, movement skill and expressivity. As another aesthetic perspectives this study approaches to the choreographer, Martha Graham with a viewpoints of Nietzsche, feminine truth. The piece, Herodiade deals with the method of representational expression. The breathing as movement principle is found as an aesthetic element identifying the substantial life. The technique based on breathing accepts the emotional tension and senses, broadens the movement areas, and identifies the dance’s internal life in its expressiveness. The bird-formed sculpture stands for the ‘internal bird in mind’. This bird also stand for psychological tension of woman, in later part of the piece a dancer drift apart from it. Graham express herself the rebuilt life-world, solve out the psychological tension experienced in reality, by interacting with the significant bird-formed sculpture, and with another dancer’s role of nanny. In choreographer’s stance, the aesthetic of Herodiade is considered as an expressiveness, femininity, bodily experience and entranced phenomenon. The piece enable the lived experience of the grace, the unity of art and life. The contents of the piece stimulate to find out the meaning and aesthetic value from the loss of authority and power, individual emotion, entrance, and extreme world of sensitivity. The piece deals with the bodily experience of feminine world, implies the aesthetic element of the grace in aspects of recognition of greatness. It enable to meet a woman and her image of waiting the unexpected, wandering, as one aspect of human beings. The femininity conceived by Nietzsche is described as reinstate from masculinity. The woman for Nietzsche is considered positive, artistic, self controled. Nietzsche’s truthful viewpoints suggests a view of feminine world in accordance with the relationship of body and the earth. The significance of this study is on the rediscovery of femininity and its meaning.

The interface of technology tends to limit human movement as the body adapts particular movement patterns to interact with a machine. The multi-touch gesture interface employed by a smartphone also demands a user's certain movement patterns in order to deliver his or her tactile command to the machine more effectively and efficiently. This study aims to observe and analyze the movement of smartphone users and to identify its characteristics associated with the use of such a device. To demonstrate this, 30 second-long movement samples were collected from three different smartphone users and fully investigated at a micro and macro level based on Laban Movement Analysis and Bartenieff Fundamentals (LMA/BF). The findings of this study suggest that smartphone users tend to stay in the same Shape Form with the same size of Kinesphere for a period of time and use distal parts of the body with relatively small movements. The actions frequently performed are touching and sliding, which mostly show one-dimensional directionality; and stillness. In sum, the Inner/Outer movement theme is predominant in the context of using a smartphone as users exist in the inner world or make a bridge to the environment by attending to the device or to themselves according to different inner needs to manipulate the device or to take information from it.

This study examines the trends related to dance as a performance art during the early period of the Soviet Union, a time in which art was broadly used for public enlightenment, the promotion of socialist ideology, and national integration and establishment in the 1920s and 1930s. Dance in this period will be investigated with the aim of determining who produced and appreciated dance performance, the format and genre of the dance performances, and the themes and contents of the performances. Throughout the 1920s and 30s, efforts were made to develop a new form of art that would be appreciated and accepted by Soviet people from various social classes and would help to lead the newly born country, based on Lenin’s idea of popularizing art for the general public. It was a critical period that shaped the characteristics, format, and direction of performing arts in the Soviet Union. In looking at this period, three phenomena stand out. First, ordinary people emerged as both producers and viewers of the performing arts, and an amateur performing arts group (Soin Yesuldan) became popular. Second, Estrada and folk dance became popular during this period among the multi-ethnic and multi-cultural people of the Soviet Union, which greatly influenced the birth of a folk dance company with ballet choreographers. Third, at a meeting of the Pan-Soviet Writers Alliance held in 1934, Gor’kii M. declared that socialist realism should be the principle for creating Soviet art. Subsequently, young Soviet ballet masters developed new forms of ballet in which the themes and contents were in accord with the government agenda. Dance as a performing art in the early period of the Soviet Union greatly influenced not only the art movements in other socialist countries but also Minjok and Minjung chum in Korea in the 1980s and 1990s. In this regard, future research should investigate how dance formats and characteristics from the Soviet Union have been accommodated and reflected in Korean Minjok and Minjung chum.