This study aims to analyze dance moves of Munmu and Mumu, two kinds of Ilmu of Jongmyojerye (the royal ancestral rites music) in order to identify significance and symbolism of the dance moves. The findings show that "Gyeonpa" was a dance move that was always included in 11 pieces of Botaepyeong(music to praise the cultural achievements of Jeseon's kings) and Jeongdaeeop(Music to extols the military attainments of Jeseon's kings) each. In Munmu, dancers would collect the energy, which has been circulated and spread before their faces with the knees bending and stretching and two hands open sideways each of the pieces by performing dance moves of spreading, gathering, turning, and repeating in most cases. After this Gyeonpa, the dancers expresses symbolically the wish for Botaepyeong, which achieves unity between the Heaven and Earth and hopes for a reign of peace for many years, in attitudes of respect and humility. In Mumu, they would maintain the Gyeonpa move of erecting a wooden sword(spear) straight and raising it high during long beats through the arm movement with no knee bending and stretching or perform Hyeokjeong with power and discipline 12 times, expressing Uideok(virtue) symbolically. The dance move of Gyeonpa is representative of the unique nature of Jongmyoilmu. It is important that the moves of spreading Mundeok in the combination of Yak and Jeok, circulation of yin and yang, and harmony of Ye and Ak would connect to flexible and soft dance moves of Haphyung in Munmu. In Mumu, it is important to maximize the solemn mood by erecting the wooden sword(spear) straight and stopping it with moves of embodying the achievements of distinguished military service with discipline.

Sanjo dance is a dance that was created with the origin of Sanjo music. Sanjo Dance was performed firstly in 1942 by Choi Seung-hee. From the 1950s to the 1970s Sinmuyoung (新舞踊, New Dance) dancers had presented the Sanjo dances. In the 1980s and around, the Sanjo dance did not draw much attention from the entire dance industry. From the 1990s to the present, the first Sanjo Dance was re-examined, and dancers newly presented various Sanjo dances. To summarize the aspects of Sanjo dance, first the Sinmuyoung dancers began to create it, and a number of the new dance-style Sanjo dances were created. In the 2000s, it has also been made in the traditional dance field. Second, after using Gayageum Sanjo by dancers, the musical instruments became more diversified, including the iron gayageum, geomungo, and haegeum, and the Sinawi format was also tried. Third, the Sanjo dance has various sub-titles, which reflect a certain motif or sense of subject matter of creation. However, Sanjo dances in the context of traditional dance tend to form a dance in the composition and flow of Sanjo music. Fourth, you can see creativity, improvisation and diversity in Sanjo dance. Creativity and improvisation are characteristics of Sanjo music, which gave rise to the diversity of Sanjo dance. The Sanjo dances developed in this flow can be divided into three contexts. These are the Sinmuyoung style, the traditional dance style, the mix of Sinmuyoung and traditional dance style.

This study focuses on the sociocultural and artistical interrelations between the "Korean Dance" and two of the most popular non-textual forms of mass media - commercial sound recordings (gramophone records) and films (feature films, newsreels, documentaries) - between the 1930s and 1960s. First, this study focuses on how gramophone records were employed through the Korean dance recitals during this period, as well as on what type of music was used in these recitals. Second, this paper examines the films documenting "Korean Dance" shot and produced during the time period in question, and discusses how these films were produced and how it has impacted establishing the "Korean Dance" through its mass distribution. By doing so, this paper attempts to provide a preliminary suggestion on how the "Korean Dance" has made its transitions over time, as well as an opportunity to historically understand the actual manifestation of "Korean dance" during its earlier days of a modern form of performing arts. It can be strongly argued that a strong sense of a historical parallel is revealed between the historic development of the Korean Dance in the early 20th century Korea and the development of the notion of Korean national culture, as both came into their modern manifestation through a series of constant interactions between Korean premodern cultures and the modern foreign cultures.

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 analyzed whether there are differences in the evaluation of the attributes of dance performance audiences, satisfaction, and intention to revisit according to the lifestyle type. The main research results of the empirical analysis are as follows. First, it was found that the importance of the performance attribute differs according to the lifestyle of the dance performance audience. It was found that social relational and conservative culture types value performance hall facilities and accessibility, and open-minded groups regard performance hall facilities and performance groups' brands as important. Second, open-minded audiences were found to have the highest satisfaction and willingness to see the performance, and social relation-type audiences were the lowest. Third, it was found that the stage facilities of the concert hall and the brand factor of the performing organization had a positive effect on the satisfaction of dance performances. These results suggest that advertising and promotion strategies for performances should be different according to the lifestyle of the dance performance audience.

This research attempted to clarify trends of Korean dances during the 1960s by analyzing dance video data from the National Gugak Center’s Garfias Collection. The Garfias Collection is an archive of Korean performing arts that was donated by American music anthropologist Robert Garfias in 2019. In 1966, Garfias stayed in Korea for several months and recorded Korean traditional performing arts through photographs and videos. In this collection, there are 14 video clips of Korean dances of the 1960s, which can be classified into three sections: court dance, Buddhist dance, and folk dance. Various literature surveys and expert interview were conducted to investigate the background and activity status of the performers at the time, as well as the costumes, dance movements and the composition patterns of each dance. In the case of court dance, they were performed before systematic restoration based on literature had been carried out, and it was found that the progress was faster and contained more creative elements than the current one. In Buddhist dance, it has proceeded almost identically to what is currently being performed, but it can be said that the pace of progression is faster and the individuality of the dancer stands out. Finally, in folk dance, it provided an opportunity to gain a new perspective on the formation of traditional dance since the video showed a very different aspect from the dance that is currently being transmitted.

The Korean-Chinese Janggo dance is a symbolic national art of the Korean-Chinese and a symbol of the Korean-Chinese culture. This study aims to research how Korean traditional culture, Janggo dance, developed and settled into the Korean-Chinese Janggo dance in China. To this end, we examine the changes of the Korean-Chinese Janggo dance by period and the characteristics of its choreography for the succession and development of the Korean-Chinese culture. First, the Korean-Chinese dancers pursued the development of national dance for succession and development of their culture, and also they attempted projects to discover, organize, and recreate the Korean-Chinese dance based on different perspective and ideas from China. Second, the Korean-Chinese Janggo dance has developed, reflecting the changes and development of The Korean-Chinese Janggo dance by period. Third, the artistic feature of the Korean-Chinese Janggo dance emphasizes the beauty of the dancer's body and expresses the harmony of the dancer's gestures as well as expressions with the Janggo dance and music. We hope that this paper would devote itself to the development of the Korean-Chinese Janggo dance and be used as a basis for future research.

The purpose of this study was to analyze the current state of studies related to perfectionism in the field of domestic dance and to discuss the direction of future research. The research was conducted by searching the academic search sites such as RISS and KISS, and a total of 69 studies on perfectionism were analyzed in terms of the publishing institution, publication year, research subjects, research methods, concept of perfectionism, variables related to research subject. Content analysis and frequency analysis were used as analysis methods, and the following results were obtained. First, theses and dissertations were conducted in 16 universities in total, and the journals were published in 17 journals. Second, the researches of perfectionism have been steadily studied since the 2000s. Third, Most of the studies conducted on the students of higher education courses majoring in dance. Fourth, Most of the studies were quantitative researches, so it seems necessary to carry out various research methods and research designs. Fifth, Most of the studies used the multidimensional concept of perfectionism and suggested the necessity of research on the development of scales for the domestic dance majors. Sixth, as a result of analyzing the trend of research based on the variables related to the theme, the most of independent variables were personality variables, the most of mediator variables were coping and moderating behavior variables, and the most of dependent variables were positive emotional variables. According to the results, research tasks were suggested an academic effort to try various research topics and subjects, research methods, and research designs by expanding the biased research area. It also implies that research should be activated through a creative approach and an in-depth understanding of the propensity of perfectionism.

This study aims to understand Somatic Experiencing® which is a trauma healing technique through the senses of the body, and how humans are neurophysiologically connected to the autonomic nervous system in the process of recognizing the senses and react to survival. I examine whether it has an emotional release and how the trauma can be healed through the senses of the body. To this end, I investigate the survival and defensive behavior of wild animals, which is the core concept of Peter Levin's trauma healing, and discuss in terms of neurophysiology. As a result, I identify the physical implications of somatic experience based on neurophysiology. First, trauma is something that can be experienced willingly and is a natural and normal part of life. Second, for trauma healing, the intervention of the brain's neocortex is important. Through neocortical intervention, it is possible to focus on the body sensations and integrate the three-layered brain structure. Third, activation of the vagus nerve, which is closely related to our emotional response and social relationship, plays an important role in bringing about stabilization.

This study investigated the confluence and transformation perspectives of Hakmu-Yeonhwadae (鶴舞-蓮花臺, Crane Dance-Lotus Flower Dance) by taking a new perspective. The researcher analyzed the contents of the literature by searching for existing papers and historical data such as Uigwe (儀軌, Official Documents of Royal Events), Jeongjaemudoholgi (呈才舞蹈笏記, Choreography of Court Dance), and the iconography of historical pictures of royal events. The main results are as follows. First, Hakmu (鶴舞, Crane Dance) combined with Yeonhwadae (蓮花臺, Lotus Flower Dance) turned out to be performed in a way that directed two younger girl dancers to appear from two Lotus boxes in the texts of Gyobang-gayo (敎坊歌謠, Gyobang Song) and Hak-Yeonhwadae-Cheoyongmu-Hapseol (鶴蓮花臺處容舞合設, Convergence of Crane, Lotus Flower and Cheoyong[a man for preventing epidemics] Dance). Second, it was confirmed that the creative transformation patterns were historically revealed along with attempting to attune slight differentiations of Hakmu-Yeonhwadae. Third, Hakmu and Yeonhwadae had been performed separately and consecutively at royal court banquets since 1877 after King Jeongjo’s reign. Fourth, it was noted that there were several changes in the Jidangpan (池塘板, plate with artificial pond) and Lotus boxes in the late Joseon Dynasty. Fifth, the converged parts between Hakmu and Yeonhwadae were reinterpreted considering the symbolic and ecological meanings of cranes and lotuses from the modern perspectives for creating a new dance version.