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.

The purpose of this research is to provide insights into the essence and value of dance education by describing the teaching experiences through an auto- ethnographic method. It is difficult to find researches on the overall teaching experience ranging from early childhood education to college education. Having experienced child dance class, elementary school dance class, and college movement class, I seek to find the desirable education and its significance for students while reflecting on dance teaching method and its meanings. Students get interested in their body parts, and they learn how to communicate and share their feelings with others through dance education. The performance experiences as a dance teacher are as follows. First, a natural culture at home or a home atmosphere has formed through learning-by-playing. Second, my first part-time class has led to my lifelong workplace and developed functionally. Third, I have found that a strict discipline in a dance class could give difficulties for students to express freedom. Fourth, a dance class that gives joy and pleasure changes students’perception of dance, makes them more interested in their bodies, and have more confidence with dance. In conclusion, I have realized that a dance class enables students to widely understand various emotions expressed by the body, discover ‘self’ through this process, and it can be developed into a means of communication to form a community spirit.

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.

In this study, the teacher researcher participated in the dance education workshop as a learner to expand the awareness of the value of dance education. I revealed the story of my experience as a learner, and shared the principles and values of dance education found in the experience. For this, the teacher researcher participated as a learner in the dance education workshop organized by S-group and conducted a 'self narrative study' that explored my experience narratively. The principles of dance education found in the workshops experienced by teacher researcher are as follows. I was able to explore the principles of ‘community learning’ which enables people to communicate with others, and ‘active learning’ that the learners experienced and realized by themselves. The values of dance education found in this workshop experienced by teacher researcher are as follows. The experience of interacting with and others has allowed learners to develop their knowledge processing and problem solving skills while understanding others' movements, and to develop their self-management and creative thinking skills while telling their own stories. This body dialogue also allowed them to enhance their communication and community competence. Based on the results of this study, we can find the possibility of human education and competency education of dance education. We suggest the systematic implementation of dance educator and the development of related governance awareness opportunities for expanding the value of dance education.

The purpose of this study is to suggest the direction of disability dance education by analyzing disability dance education research trends. Among the papers related to disability dance education registered in the Korea Education Research Information Service, 46 papers published, which were published from 2010 to October 2019 were examined, through content analysis and keywords analysis. As a result, the research scope has been expanded to the emotional, physical, and social adaptation targets for people with intellectual disabilities, and a number of studies on the use of dance for the purpose of physical rehabilitation while related keywords have been found. Therefore, it is necessary to convert the social members' awareness of the disabled arts through the disability dance education, and it is urgent to develop a dance arts education program considering the characteristics and degree of disabilities and to train professionals in the arts of disabilities. This study suggests a professional educational institution that educates the disabled to become professional dance artists.

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 research is to examine the historical development of the Korean-Chinese (ethnic Koreans in China) dance in China, and to examine the developmental aspects of the Korean-Chinese dance in Yanbian after the founding of the People’s Republic of China. This research first defines the concept of the Korean-Chinese (ethnic Koreans in China) and Korean-Chinese dance. The Yanbian Korean-Chinese dance’s developmental aspects are divided in three stages: the Discovery and Creation of Korean-Chinese dance, the Development of Korean-Chinese dance, and the prevalence of Korean-Chinese dance. The characteristics that appear in the Yanbian Korean-Chinese dance’s development process is as follows.
 First, after the founding of the People’s Republic of China, the Korean-Chinese dance was closely related to the dance development of the civilian local community.
 Second, in order to transmit and spread the Korean-Chinese dance in Yanbian, an established education and training system for Korean-Chinese dancers was required.
 Third, the dancing culture that was publically spread and transmitted, had moved on to performance stages by performers and was once again spread to earn its popularity.

This paper aims to compare the forms of basic and creative dances in Tokyo Korean School (hereafter Korean School) and Joseon School by focusing on the national dance education conducted by them, consider what a role the national dance has placed in internal and external events and suggest some tasks that they should perform in the future.

From the consideration , following findings can be summarized:

First, in terms of basic dance, Joseon dance is taught by dance instructors trained in a consistent system with systematic curriculum in Joseon School, while Korean dance education is conducted in an autonomous form at the discretion of the instructors in Korean school. Second, in terms of creative dance, although Korean School put an emphasis on creative activities reflecting the current generation's senses, by considering the flow of times, Joseon School is biased toward the nationalist tendency and has no modernistic perspective. Third, the national dance education in both schools has commonly served as an important medium for promoting the relation with Japan, the country of residence, through external activities.

Based on the findings, the tasks of the national dance education can be suggested, on which the new generation should focus. First, it is important for both Korean and Joseon School to co-host the cultural events in which they can watch and learn each other's dance and create the environment for them. Second, a joint research on the traditional dance of South and North Korea should be conducted, based on regular exchange between dance instructors working in both schools.