The purpose of this study is to develop interdisciplinary research between dance studies and big data analysis. To this end, the text mining technique, which extracts meaningful information from text, was adopted as the research methodology. In the process of text mining, original PDF texts on the themes of Chum/Muyong(dance), morphological analysis, user dictionary construction, and social network analysis were collected to extract significant named entities and clarify the relations between them. The outcomes of the process, which comprised the extracted text data (total 10,231 copies), a named entity classification table, and a network of named entities, were loaded into the big data analysis system under development. The findings of the study are as follows: First, there were 25 total morpheme types, with 24,691 words with a frequency of more than 100. From these, a second morphemic analysis of sentences containing words such as “Chum” (춤), “Mu” (무), and “dance” (댄스) was conducted. It was revealed that in parts of speech with a frequency of 10 or more, there were 3,057 nouns, 602 proper nouns, 352 verbs, 205 numbers, 135 adjectives, and 35 adverbs. Second, a user dictionary was developed in the form of a taxonomy with stratification between hyperonym and hyponyms. The dictionary contained 2,404 words, which were classified by theme, person, dance piece, genre, theory, function, element, and period. Third, social network analysis revealed that the terms “Muyong,” “Chum,” and “arts and culture” were closely interconnected at the heart of the network. In contrast, dance deviated somewhat from the center. “Dance” was the only word to be connected with the network of dance sports and jazz. This study is significant because it represents the first attempt to apply text mining to written records on dance. In addition, it could suggest ways to expand the use of big data analysis to dance studies. Based on the study, a big data analysis system that is specialized in dance was developed, and the contents will be updated continuously.

The purpose of this study was to examine the state of choreography education as part of musical dance education in music departments in the United States, France, and South Korea to spread awareness about the necessity of creative choreography education to expedite the revitalization of the inclusive functions of dance in musical departments. In the United States, not only the theoretical dance classes but also advanced practical dance courses (tap, jazz, ballet, and modern dance) necessary for musical education are offered in a systemized way. Furthermore, other courses give students who have taken the practical courses the opportunity to produce their own works through creative choreography. All of these courses enable students to exert their creativity. Similarly, many creative dance courses are offered in France along with theoretical courses, although few professional dance techniques are taught in musical dance classes in professional arts schools specializing in theater in comparison with the case of the United States. Students who take creative dance courses are given a lot of time to produce their own works in collaboration with other fields. Indeed, they are educated to be fully aware of the roles of dance in works. In musical dance classes in South Korean colleges, however, there are generally no further attempts to provide opportunities to experience dance in the repertoires of existing musical works. Indeed, current musical choreography education is neither systematic nor professional enough to teach students to come up with creative, inclusive ideas through experiencing a wide variety of dance genres. Fundamentally, the curriculums of the musical departments aim to nurture the professional human resources necessary for musical production; dance choreography education should be integrated into and strengthened in these curriculums to foster actors who are skilled at acting, singing, and dancing. In addition, more cooperative programs should be prepared to provide opportunities to produce works in collaboration with other fields. In this way, competent human resources will develop into musical directors or producers who are aware that choreography is no longer a supplementary part of musical education but should rather be developed along with acting and music. As this sort of education is expected to nurture capable choreographers who can create choreography with an excellent understanding of drama, dance choreography education seems to be mandatory for a musical curriculum.

Byung-Choen Park’s Jindo Drum Dance is a masterpiece that strikes a balance between traditional Korean music and dance. As one of the most representative traditional dances, this dance has been loved and performed by many people for a long time. This study focuses on discovering the unique qualities of Byung-Choen Park’s Jindo Drum Dance by examining its movements through Laban Movement Analysis. Along with this analysis, this study also explores the special concepts and philosophical meanings embodied in the movements of the dance. As a Certified Laban Movement Analyst, the author analyzed the movements based on the dance film shown at Jin-do on November 7, 2008. The movement qualities of the Jindo Drum Dance are as follows. First, the dance employs both regular beats and irregular up-beats that cause disorder within order. Second, the limited torso movement while holding a drum enhances simultaneous and, consequently, harmonized arm and leg movements. Third, diverse arm and leg gestures draw curved and straight spatial designs by using peripheral and transverse spatial pathways. Fourth, in most performances, the dancer faces the front and right and left forward side directions based on the proscenium stage. Also, the diverse spatial directions of all body parts within a personal kinesphere create three-dimensional volumes with mixed diagonal lines within a cube. Fifth, the inner impulse of the movements demonstrates an Effort phrase, such as Action Drive, then Bound and Free Flow and Passion Drive, versus Remote or Mobile State. These Effort phrases reveal a unique Korean dance aesthetic, which consists of a harmonizing of Jeong Jung Dong-stability and mobility, as well as calm and active. Sixth, these five special qualities rely on a structure that includes principles of repetition. Repetitive movement qualities help audiences appreciate and evoke the unique Korean sentiment, Shin-myung. All of these movement qualities are well orchestrated in between two opposing poles, such as harmony and chaos, regular and irregular, soft and stiff, strong and weak, curved and straight, and feminine and masculine, which eventually imply the special Korean cultural concept of Jeong Jung Dong and Dong Jung Jeong, which is based on Yin-Yang philosophy.

This study traced Choi Seung-hee’s dancing career in Europe and the Americas between 1937 and 1940. Choi is recognized as a pioneer who built the foundation of modern Korean dance. Called “the dancer of the peninsular” and very popular in Korea and Japan, the celebrated dancer extended her career to Europe with the ambitious mission to introduce Joseon dance to an international audience in the late 1930s. As the Japanese novelist Yasunari Kawabata put it, her dance was powerful and based on her ethnic roots, which became representative of her as a dancer. Meanwhile, most Korean intellectuals criticized her dance for failing to fully express their nation’s identity; this was because it was a mix of Western-style and traditional Korean techniques. Despite this criticism, her dance proved itself to be fascinating enough to attract an international audience, presenting the uniqueness of an ethnic culture in a dignified and fresh way. It also suggested that the legendary dancer’s work carries significance in that it created a new value system with a blend of globalization, locality, and democratic elements.

When I first looked through the records of Korean immigrants on the foreigner register in Mexico in 1989, a photo attracted my attention of a flapper-haired, smiling, beautiful woman who stood out among the others. She was Sai Shoki, a famed dancer who performed in Mexico City in October, 1940. When I met Judy Van Zile, professor of University of Hawaii in Puerto España in the summer of 2000, the professor told me that her study on Korean dance was nearly completed. Her study looked into the performance tour in America by Choi Seung-hee(Shoki’s Korean name)and included articles on her Bogota performance. That led me to the presentation of this study in which I was to give details about Shoki’s dance career, records on her Mexico performance, and her political position on her nation’s independence movement, which drove her to move to North Korea and continue her career there. The appendix contains related photos.

Rooted in British sociologist Anthony Giddens’s description of modernity as a historical and cultural space that is “in various key respects discontinuous with the gamut of pre-modern cultures and ways of life”, this study seeks to contextualize Ch’oe Sŭng-hŭi’s life and legacy in relation to evolving ideas of modernity. Here I continue my concern with Ch’oe’s actual dancing. I first lay a foundation for moving forward by summarizing related previous findings. I then look at Ch’oe’s emerging aesthetic philosophy and artistic development in relation to modernity as it was becoming defined in dance in Japan, Korea, and elsewhere. I conclude that it was the diverse philosophies underlying the kids of dance with which Ch’oe became engaged that in effect gave her permission to develop artistically in the way she did, and that allowed for her changing embodiment of Korean modernity during the 1920s and 1930s.

This study is an analysis of dance critics' way of writing to make the general public appropriate images. Thus, this study aims to identify the images in writings inferred by readers; this study investigates the factors of aesthetic works by critics who compose images in their writings. In this study, the inference process of images for the interpretation and analysis of works was described by investigating the factors appearing in dance critics' writings on their impression of the works. By describing a critic's way of writing, which is shown in the critique on the Korean National Contemporary Dance Company's , the components and meaning of image inference in the work were examined. The study found that the trends in the form of the aesthetic work from critics' appreciation could be summarized as generalization and the universalization. It could be seen that the generalization acted as the basis of a basic judgement for the quality of the work, which appeared through understanding the subject and themes of the work. The universalization presented image refinement of inference for the analysis with technical requirements for aesthetic characteristics, form, social and philosophical structure, thoughts and ideas, and artistry. The critics writing on works has an open attitude to possess a convergent direction of interpretation as a progressive form against the abstractness appearing in the art of human society. However, it could be seen that the functional descriptions of artworks were presented to readers as as an association process of image inference in a censored form (which is generalization and universalization) in order to identify human society as cultural, social, and historical forms.

The idea of Korean dance that humanity and art should conform to the nature of heaven and earth is in common with Confucius' Confucian thought of Confucius. And it is connected with the aesthetic reason of harmony of right personality and healthy body. This study analyzed the aesthetics of Korean dance through the unity of heaven and human and I Keji Fuli between the as aesthetic feature of Confucian textuality. First, Munmyoilmu has a human the aesthetics nature and aesthetic character with a human the centered feature that makes up the virtue and personality of individuals and further builds a beautiful human society together with oneself and others. Second, the Kang Seon‐yeong style Taepyeongmu Dance endeavors to make a world in which a pervasive behavior affects the social community and all people can live in a society where order is fulfilled. It is a form of harmony and order of the heaven and earth, mediating the sky and the earth. Third, Dongraehakchum Dance with an idle creature of the gentry’s dancing, expresses the moral nobility of Confucianism that the crane possesses. The aesthetic consciousness of the viewer can be seen through the dance of the moral sublime of the coexistence of heaven and earth.

The purpose of this study is to suggest a way to reconcile two conflicting concepts: the system of intangible cultural assets and creative succession of traditional dances. Among the terms for intangible cultural assets in Korea, ‘prototype’ was changed into ‘typifier’ because of the legal revision in 2016. In addition, the term, ‘human cultural assets’, which has been actually used was enacted. Typifier is an advanced concept which makes a bridge between intangible cultural assets and artistic notion, while human cultural assets are also a concept that acknowledges an indissolubility between dance and human being. In order to encourage creative succession, while maintaining and preserving the artistic view on intangible cultural assets, this study proposes the following suggestions. First, we should actively find and appreciate holders of human cultural asset in their 40s-50s. It would help activating the dances and forming an independent job field. Second, we should acknowledge more than two people as human cultural assets for an item, accepting various and creative successions. It leads to restraints power monopoly and to promote competition among them. Last, succession fees should be unified by the Cultural Heritage Administration for securing transparency and fairness of accounts. These would contribute to creative successions of Korean traditional dances in the system of intangible cultural assets.

In this study, I examined how the succession and modernization of tradition has been emphasized through the articles related to dance in North Korea’s comprehensive art magazine Joseon Art focusing on its traditionality and modernity. The research method was centered on literature analysis and image analysis. In the literature, from the first issue of 1956 to the first of June 2000, 344 out of 468 articles were reviewed and analyzed. The analysis revealed that the majority of articles has focused on the discussion on the issue of inheriting and developing the people's dance heritage among the anti - revolutionary dance heritage and ethnic classical dance heritage. Based on socialist realism as a principle in succession and development, discourses in the articles have emphasized revolution in contents and have tried to create dance based on national characteristics in terms of form. I can see that the articles have strived to present the dance as a means of educating people’s ideology. The contents discussed in the Joseon Art from the 1950s to the 1970s were found to be further developed in the later period. North Korea has developed dance that promote the superiority of the Korean people based on Juche ideology. It was found that the principles related to dance decided before the 1980’s have continued in the “invariant law”.