Compare to the other arts forms, dance as an intangible performing arts foam is restricted in records. Until the photo and video materials were actively utilized for recording dance, the dance was only remained in memories of dancers and audience members who experienced the dance site of those times. Recently dance oral history is beginning to apply for writing new dance history. While dance oral history offers to dancers to testify their own histories, it makes dance people to participate in writing dance history. Thus, oral history scripts on dance that is dance peoples’ oral texts can expend horizon of dance history’s writing. In present, historical resources on the 20th century’s Korean dance, particularly in the period of Korean Liberation (1945~1948) and the period of Korea War (1950~1953) are poor as if these periods are vacuity. Even if some documents related to these periods are existed, those contents are the event, the dancer, the dance work, the dance criticism, and dance organization which are limited evidence of these periods. On the other hands, oral history scripts on dance related to these periods provide vivid historical evidences on cultural environments and real situations of dance production and dancers. Because those oral texts were created by voices of senior dancers who lived in these periods. Futhermore, the scripts clue in on anthological, sociological, and psychological resources related to the dancer or dance trends in these two periods. Therefore, applications of oral history scripts on dance enable to write on deeper historical themes, such as the dancer’s identity, changes of aesthetics, trends of dance creation, dance policies, and dance agencies in the 20th century. The purpose of this study is how to overcoming limitations of writing on the 20th century’s Korean dance history through the oral history scripts on dance. First of all, the researcher analyzed two dance history books, Hangguk Hyeondae Yesulsa Daegye I [An Outline of Arts History of the Korean Modern Period] and Woori Muyong Baeknyeon [100 Years of Korean Dance]. Then, the vacancy and the errs related to the period of Korean Liberation and the period of Korea War that discovered in those two books were made up with the texts of oral history on dance that completed in 2008 and 2009 by the Arts Resource Center of the Arts Council Korea. In result, this study has attempt to open new horizon for writing on history of the 20th century’s Korean dance. Even though this study first attempts to apply the oral history text of senior dancers for writing dance history, the trail is limited to supplying new historical facts. That is, the study could not developed to writing new dance history because previous resources were so poverty than the researcher had expected. In the future the oral history scripts would aid not only dance history researchers to write alternative dance history, but also to discover counter memories compare to the previous dance history books.

The purpose of this study is to analyze and organize verbal descriptions articulating dance movements as a method to pass down a basic dance that epitomizes the unique stylistic features and techniques of an individual dancer in the contemporary and modern times when Gujeonshimsu(handing down orally and instruction with spirit) is the general teaching method in Korean dance education. The late Korean dancer and choreographer Choi Hyun is renowned for his commitment to performing and directing various genres of dance as well as nurturing students. As a highly acclaimed Korean dancer, his unique dance movements and skills are well worth being preserved for future generations. In this regard, this paper presents a method to hand down the legacy of Choi’s dance by classifying representative movements and techniques from his basic dance that integrates the creative skills and movements found in many of his performances, and by systemizing verbal descriptions of those movements. To that end, key movements of Choi’s dance were classified and their verbal descriptions were analyzed through examinations of previous studies of his dances, an analysis of his performances on video, and an empirical analysis on the repetitive practice of mimicking his moves. A summary of these research findings suggest the main features of Choi’s dance as described by previous studies as follows: artistic dance with transitional characteristics both contemporary and modern; theatrical expressionism; harmony between masculine and feminine; charm of impromptu motions found in Deotbaegi-chum, a representative dance of the Gyeongsangdo region; the inseparable relationship with music; upright postures and curved arms; metaphysical joy and flavor; and the beauty of emptiness and romanticism, etc. The movements featured in the videos of Choi’s dance performances are analyzed based on what characterizes his dance as found in previous studies. According to the results, the movements are largely classified into three categories: whole body movement; upper body movement; and lower body movement. With each category having four subcategories, the movements are classified into a total of 12 forms of movement verbally described. The whole body movement is demonstrated in four techniques: left and right body swinging and upward and downward closing movement; slight forwards and backwards walking with alternate leg crossing; fierce upward and downward body movement; and closing movement. The upper body movement is classified into four postures or movements: waist twisting; head tilting; circular arm movement; and cross-winding both hands. The lower body movement is displayed in four techniques: legs kept together and legs kept together while standing; short steps; low jumps; and legs-together standing posture. In conclusion, to identify the key elements of Choi Hyun’s basic dance movements and systemize verbal descriptions will be one of the ways to transmit the artistic value of his unique dance performances.

The purpose of this study is to analyze the images of dancing women in the Korean novels from the 1910s to the 1950s and to investigate the relevant social discourse and cultural context at that time. This study focuses on the Korean novels as the research materials and the media to reflect the people’s awareness and social aspects of the times. The 6 novels selected through the material collecting process over 3 sessions are 『Moojeong』, 『Bokdeokbang』, 『Mooseong-gyeokja』, 『Seoul』, 『Sawhasan』, 『Silbimyeong』. The substantive characteristics and relational characteristics of dancing women appeared in the novels are arranged by type through text analysis. Their social implications are also explored. As a result, the images of dancing women appeared in the Korean novels are as follows. First, as the substantive characteristics of dancing women in the Korean novels, the number of dancing women appeared in the 6 novels is total 8. Their occupations and social activities are found to be Gisaengs, dancers, the students to prepare for being dancers. Second, as the relational characteristics of dancing women in the Korean novels, the relationships between main characters and dancing women are found to be classified into sexual relations and familiar relations. Third, the social implications of dancing women in the Korean novels are deducted from the opposite social awareness on Gisaeng and modern-girl dancer and the demands of the times on dancing women. It is expected that dance culture research would be enhanced and the close relationship between women and dance would be investigated if the follow-up studies to analyze the contemporary novels from the 1960s to the 2000s with the identical standards to this study are conducted. In addition, it is also expected that this study can contribute to the research on the Korean modern dance culture.

As a result of the spread of smart phone, the new communicational tool, SNS is used for diversity part of economy and culture. Among domestic dance compaies, SNS is used for marketing, communication tool for audience. This study aimed to research the domestic dance company’s SNS focusing on Facebook. For this Durpose, the research tools, acting respond indicators (‘Like’, ‘Share’, ‘reply’) were investigated and compared. As to know current state of the domestic dance company's SNS using, researcher could come up with apropriate SNS using tips for the future. In doing so, I selected 10 dance companies in a location of capital area and compared the kind of SNS and choosed 2 major dance companies that were good at SNS. Major research tool was SNS-Current Using State Investigation papers developed by the leading studies and the paper refered to domestic theses, books and academic journals, searching the internet. The suggestion of using the domestic dance company's SNS were as follows: First, the domestic dance company has to upload the latest news, involving beauty value that can give pleasure to Facebook users. And the quality of posting is important. Second, the domestic dance company's Facebook has to leads the Facebook users to reply or share their posting. Third, the domestic dance company's Facebook properly uses the funtion of uploading movies in Facebook.

The purpose of this study was to examine the experiences of learning Korean dance among college students in America. The research questions how people of other cultures view changes in Korean dance through study, what beneficial changes occur, and how experiences are meaningful to them. To answer these questions, this study primarily relied on in-depth and semi-structured interviews with college students (4 Americans, 1 Chinese, and 1 African), in Massachusetts, who studied Korean traditional dance through a series of 19 classes, beginning on September 16th, 2014 and ending with a performance on March 3rd, 2015. All interviews were fully transcribed before the files were segmented and the subjects conceptualized using assigned codes. The results of this study are divided into three parts. First, before learning Korean dance, the research participants perceived it to be an interesting but unfamiliar dance, which they recognized from Korean Wave, and an elegant and beautiful dance, different from K-pop. After learning Korean dance, they perceived it to have flow and moderate strength. They believed that it allowed them to recognize their inner consciousness and be aware of their surroundings, facilitating communication with both. Participants also felt that the dance healed the spirit through deliberate movement, that it allowed the body’s energy to increase through concentration, that it coordinated the body’s movements organically, and that it symbolized the lives, philosophy, and respect for creation of the Korean people. Second, participants changed in four beneficial areas through study of Korean dance: 1) their strength, control, coordination, balance, and individual expression improved; 2) their awareness, memory, patience, focus, creativity, ability to communicate, sense of responsibility, mental coordination and control, and thoughtfulness improved; 3) they had a more positive attitude and perspective; and 4) they felt that they embodied the qualities of the Korean people, such as respect, elegance, and slowing down. Third, learning Korean dance was meaningful to the participants in the following four areas: 1) it was a challenge and an accomplishment, 2) they gained familiarity with Korean culture, 3) they became ambassadors for Korean culture, and 4) they felt both special and professional.

This thesis presents an interpretation of Korean musical history based on an analysis of the choreography of each era. The development of Korean musical theatre can be divided into the following three ages. In the antecedent stage (1930s–1950s), the first musical production were like operas, but these were very different from Western musical theater. Korean traditional dance also remained popular. The dance themes focused on politics or parodied current events. The famous choreographers in this era were Kim Minja and Jang Chuhwa. In the development stage (1960s–1980s), Western influence on Korean musical theatre was pronounced. Commercial efforts were made to develop a music industry. Spectacular shows were produced, and these represented an attempt to target global markets. The famous choreographers in this era included Kim Bekbong, Lim Sungnam, Choi Hyun, and Bek Sungku. The golden age (1990s–2010s) brought dramatic change to Korean musical theater. While the original Korean musicals had been established as the basic form of musical theatre, Western musicals became a major branch in the Korean music industry. Each branch was a thriving institution, artistically and commercially, and each had its own place and purpose. The famous choreographers in this era included Han Ikpung and Seo Byungku. Korean musical theater has been a part of the dramatic presentations of the times. Due to the emergence of modern Western musical theater, many structural elements changed, and choreography in musical theater became an important part of productions.

This paper was written from the perspective of non-reductive materialism to interpret choreographic changes and medium replacement in Korean traditional dance. Non-reductive materialism is a theory that all phenomena are mentally created from substances and that formed mental phenomena do not return to the substances from which they came. This principle was the matrix Danto used to explain the ontological status of artwork. Additionally, Margolis borrowed Strawson’s concept of person and applied it to assess art analogically. This same concept can be applied to explain dance; dance uses movement as a medium, which in turn uses humans as a medium, making humans the embodiment of a physical substance—the body. The physical substance, then, is the property of the medium, embodying the dance performance. Embodied dance contains the physical properties of the medium and intentional properties, such as mental phenomena, which do not belong to a physical property. Therefore, the relationship between medium, movement, and dance is non-reductive, and each is indivisibly soluble with the next. From this point of view, each dance performance produced from the same medium is independent and unique. Successive changes in Korean traditional dance are replacements of the fundamental medium. Successive dancers can obtain similarities to previous performances in their own dance by training with a former dancer. During training, breathing is a core principle of movement and an element that considerably influences dancers’ similarities. This process is called transmission. As a result, long-term similarity training is a primary factor when choosing successive dancers because they share the mental of traditional dances and choreography with their successors.

The purpose of this study was to investigate trends in male choreographers’ work in Korean dance, as demonstrated in “12 Korean Contemporary Dance Choreographers’ Showcase.” For this study, the researcher observed the showcase before collecting and organizing critiques about the showcases from dance magazines, such as 󰡔Auditorium󰡕, 󰡔Performance and Review󰡕, 󰡔Dance Forum󰡕, 󰡔MOMM󰡕, 󰡔Dance Korea󰡕, 󰡔Dance󰡕, and 󰡔Dance and People󰡕. These articles were collected from performance pamphlets and related news in the 1990s or earlier from the Internet News Libraries (newslibrary.naver.com). The researcher also interviewed and communicated via email with the choreographers who participated in the showcase. The interviews included questions about background information in creating the work, the focus of the dances, and their points of view. From 1987 to 2005, a total of 15 male choreographers in Korean dance participated in”12 Korean Contemporary Dance Choreographers’ Showcase,” composing a total of 26 performances. Gook Soo-Ho participated in the showcase eight times, including two repeat performances. As this showcase emphasized premieres, Jeong Jae-Man had three performances, Chae Sang-Mook had two performances, and Kim Yong-Cheol had two performances. The Other 11 choreographers had one performance each. The choreographers demonstrated various themes in “12 Korean Contemporary Dance Choreographers’ Showcase.” Performances with the themes of fraternity and love for family included “By the River in North Korea” by Gook Soo-Ho and “Share” by Kim Seung-Il. Performances with themes of nihil and samsara included “Empty Boat,” “Gook Soo Ho’s Bolero,” “Garden of God Ⅰ- Nought (無)”by Gook Soo-Ho and “Mind Purifying Music” by Chae Sang-Mook. “Dance in the Sky” by Jeong Jae-Man illustrated the pursuit of an ideal, whereas “Sound of Dried Wild Flowers” by Chae Sang-Mook and “Light Wind” by Kim Yoon-Soo tried to overcome reality. There were also themes of exorcism (ritual ceremony) for the repose of souls: “Meditation of Myeonam” by Gook Soo-Ho, “Fever” by Im Gwan-Gyu, “Like Butterflies” by Lee Hong-Jae, and “Black Exorcism” by Kim, Yong-Cheol. Finally, there were themes of discovery of the ego and self-training, including “Danya (Red Bellow)” by Kim Yong-Cheol, “Shadow” by Kim Jeong-Hak, “Sad Song” by Han Sang-Geun, “Ego” by Lee Gyeong-Soo, and “Far Away” by Kim Nam-Yong. Since 1987, male choreographers in Korean dance have demonstrated unique performances in “12 Korean Contemporary Dance Choreographers’ Showcase,” presenting dance performances with religious and philosophical speculation. Generally, they emphasize themes about human beings and the environment. There are fewer female choreographers in Korean dance than male choreographers. However, female choreographers also try to show their spirit based on their lifestyles and experiences. As choreographers in Korean dance, they adopted the division of Korea and the Korean environment as a theme rather than showing the uniqueness of Korean traditional dance movements in developing Korean contemporary dance techniques.

This study is a methodology to establish a basic concept of aesthetics of the Korean dance. By examining main concepts of Korean traditional ideas, this study aims to explore the concept of aesthetics in Korean dance in a systematic way. In particular, it interprets the Korean dance based on the foundation of humanities. Accordingly, the study is significant in developing the system of aesthetics of the Korean dance by suggesting philosophical foundations of the Korean dance through the aesthetics study and through history and traditional ideas rather than limited interpretation within the scope of broad east and western aesthetics. The study was progressed in a 3-stage research design. The first stage was to extract the prototype of the ancient arts from Korean national culture in order to comprehend the prototype of the Korean dance. In the first place, examine the original flow of the Korean ideas embedded in the national foundation myths, legend and ancient heavenly ritual, and the study analyzed related languages and terms, then able to expose the clue of the esthetics of the Korean dance. The second stage was examining the spirit of the Korean Dance from the national’s original flow which is embedded in the legend and ancient heavenly ritual, i.e through the world view of ancestors who worshiped the sun and served the heavenly god. And explored the boundary of aesthetics of the Korean dance over ‘Poongryudo’ that is based in the aesthetics of the Korean dance. Lastly, in the third stage, the study establish the basic concept of aesthetics of the Korean Abstract 82 제41호dance from reviewing how the logic of aesthetic ideas, which were generated from specific traditional dances such as Salpurichum, Chunaengjeon and mask dance, granted value in aesthetic sentiment and concept. Aesthetics of the Korean dance is the aesthetics of harmony under the human centered ideas, the aesthetics of freedom which is surrealistic directly related to our life and goes beyond time and space, and the aesthetics of weighing high on the livelihood. Such aesthetics could form today’s aesthetics value and concept by repeated periodic communication. The basic concept of aesthetics of the Korean dance is divided by ‘Sitgim(washed)’ that is reached to god’s purification to release resentment, sorrow, and the dark-side, and ‘Poongryu(tasteful)’, which purposed for purify by lightness, harmonize, animateness, extemporization, flavor, pleasure, etiquette music, and light-hearted, etc. These concepts are generated from the national original culture, can be find from the original flow and the ancient heavenly ritual, and ultimately, both are seeking for the stage of a unity of heaven and man from the purification.

There are 111 main conveniences that Korean dance has in common with history research areas. Both could be categorized as age, ryupa, kind, local, and life of five. This study analyzed Korean dance history in order to provide direction for the development of localized educational content. For this purpose, we redefined the needs and professional structure of the writers of Korean dance history around the cheotjae, or the contemporary Officer. The other purposes of this study were to ensure the clarity of the Korean dance category and to express the needs of the Korean council of dance-related institutions and organizations. Prior to the development of the orientation of the educational content, the universality, consistency, and originality of Korean dance would need to be combined. This would construct a systematic framework for the educational contents of the Korean traditional dance historical research.