In studying dance history of Korea, diverse patterns of dance are discovered in murals, historical remains, and royal rites. Then, how should dances contained in visual materials be understood? This study aims to examine the method of analyzing dance depicted in paintings to research the history of dance. To that end, Panofsky’s iconological method, used in researching the history of fine art, was used to examine dances depicted in murals. Research was conducted in the following procedure. First, the concept and principle of iconology, focused on the historical background of iconography and iconology, were reviewed, and recent iconological arguments were examined. Second, how to apply the iconological method to dance was discussed. Third, through Panofsky’s iconological gradual analysis method, the iconography of the right-hand mural in Goguryeo Jangcheon No. 1 Tomb’s Anterior Chamber was described and analyzed to define its meaning. The findings of this study are outlined as follows. According to previous iconological description, the iconography of dance depicted in the right-hand mural in Jangcheon No. 1 Tomb’s Anterior Chamber features a Goguryeo person performing both-arm dance and lotus dance to the accompaniment of a string instrument. According to the iconological analysis, the dancer performs Buddhist-faith funeral dance. Such ritual dance contains the cult of wishing the dead person’s soul will well reach the nether world, as well as the wish that the dead person will lead a happy life in the nether world. According to the iconological interpretation, Goguryeo sleeve dance changed and developed into today’s Hansam, Jangsam and other diverse sleeve dances. Goguryeo dance contains the essential life meaning, and although the themes and concepts of dance may vary according to times and works, all dances are the expression of life and the heart of wishing for a good life; thus, the life, the essence of Goguryeo, was analyzed as the universal essence and inherent meaning of Korean dance. This study is significant in that it prepared a framework to research dances depicted in paintings, and proved that iconology can contribute to diverse analyses in researching the history of dance. Iconological research on dances illustrated in visual materials is expected to continue.

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.

This study discusses Merce Cunningham’s creation of (1976) which is composed for video-film dance. The choreography of reveals exact methods used for video-film dances in early 1970s. The process of creating video dance were referred to get the ideas how the choreographer understands and approaches to the scenes in the camera using cuts and flowing of dance. This study intends to utilize the compositional ideas of as a spacial design for video dance. The improvement of technique could determine the quality of dance and dancers and there are aesthetic influences from the Cunningham technique. The aesthetics of is found in the form, structure and its unity, that is intensified by expansion of spacial design and the relationship of time and dynamics in continuity. By placing various sequences of movement phrases on stage simultaneously, he found aesthetic elements from spacial design. In video film of , the camera decides where to look by following the dancers without inferring the flowing of the movement sequences in space. Fluidity is the aesthetic quality that the video of is intended in principal. Besides we find the phenomenal, the formal in aesthetic elements of the dance.

While students attend elementary and secondary dance classes, they develop the internal characteristics such as self-regulation, positive attitude, creativity, cooperation. Such characteristics help students grow as self-motivated human beings, leading development by themselves. This process in dance classes is very similar to the empowerment process in the business organization, where self-efficacy among organizational members is enhanced and their behavioral patterns are changed. With regard to the empowerment process in dance classes, the role of a dance teacher as a leader is important. Then, this study purposes to analyze the leadership model of elementary and secondary dancer teachers in order to enhance their capabilities to affect the empowerment process in dance education. The main results are as follows. The leadership model of dancer teachers consists of three components. First, dance teachers need to be self-empowered through a change in attitude. Such self-empowerment help dance teachers enhance self-esteem, and confidence in others. Secondly, dance teachers need to recognize such roles of a leader as the cooperator, the creator, the coach, the counselor, the mentor, the provider of challenging opportunities, and the capability developer. Thirdly, to enhance empowering abilities of students, dancer teachers may use the implementation skills of leadership such as coaching, counseling, mentoring, and participative decision making. Because the leadership model suggested in this study is analyzed theoretically, the future study should be focused on the empirical analysis of the actual leadership program in order to verify the effectiveness of the theoretical leadership model, and develop the leadership program of a high degree of completion.

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 examine the trend of dance therapy research while providing scholastic information for the future research. To the study, the researcher analyzed 43 research papers on dance therapy which are mainly domestic doctorate dissertation. The information was collected from internet research while retrieving in the Korean Studies Information. ‘Dance healing’ was main word for the internet research. The researcher aslo use keywords with trend of study on dance therapy and theme/object/method of study. The result of study is as follows: Dance therapy is being studied in the academic field at several domestic universities(23 universities). It is mainly studied in the departments of athletic area(47.8%) and health/medical area(27.9%). With respect to type of study, quantitative study(79.1%) is much more than qualitative study(13.9%) and integrated study(7.0%). With respect to tool of study, research by questionnaire(56.8%) is most prevalent. With respect to sample of study, general people(55.8%) is slightly higher than patients(44.2%). Collective sample(87.5%) and mental disease(47.4%) are most prevalent in the sample of patients. With respect to independent variables as the method of dance healing, DMT(41.9%), Korean traditional dance(18.6%) and other dance program(16.3%) occupy 76.8% of the entirety. Health (43.5%) is highest in the dependent variables as the object of dance healing, followed by disease(32.6%), physical strength(8.7%), physical composition(7.6%) and physiological function (7.6%). Related to the health, mental health (37.5%) is higher than physical health (6.5%) and in the disease, mental disease(28.3%) is higher than physical disease(4.3%). In the lower factors of mental disease, the 3 factors of depression(38.6%), stress(26.9%) and anxiety (23.1%) occupy 88.6% of the entirety. The lower factors of mental health appear in the order of self-respect(29.4%), quality of life(14.7%) and emotional intelligence(8.8%) and they diversly appear in the 14 lower factors. Although this study was done for domestic doctorate of trend of study on dance therapy, the study should be extended to include master's degree or journals and study on the meta-regression analysis of dance therapy effect is necessary. The author intends to suggest that the development of dance therapy program and the study to develop questionnaire as tool of study is necessary as independent variable appearing in the result of this study.

To evaluate properly the performance of the dance education program, it is necessary to develop the evaluation model based on logical and efficient principles. In other words, it is needed to develop the evaluation model which can provide answers for key questions related to the performance of the dance education program. Then, the purpose of this study is to develop a systematic evaluation model in order to properly evaluate the dance educational program operated by Korea Arts & Service Education Service. To build up a systematic model for the performance measurement, the basic framework of the logic model is used, for the logic model has been widely considered to help evaluators design evaluation and performance measurement for various programs. The evaluation model derived in this study logically explains the structural relationship among key elements in the evaluation process, and provides performance indicators which make it possible to measure performance outcomes and impacts quantitatively. Using the suggested model, it is expected to find ways to improve the existing dance education program operated by Korea Arts & Service Education Service effectively and efficiently.

Requirements of research ethics education depend on leaners' position and major. This article investigated issues of dance, which is in distinctiveness as science of arts, as well as research ethics education, and then considered direction of education. Firstly, one of the issues is articles on a living person. We need to prospect contemporary artists but have to get out of directly hierarchical relationship. When viewing the person objectively, we can secure neutrality. Secondly, it is awareness as 'a scholar' who interacts with dance places and mediate between theories and the place. Lastly, it is plagiarism. Artists would know it in both works and articles. Plagiarism is the field which is prone to be infringed widely in both of them. To solve these issues of dance studies, education direction of research ethics should reinforce its subject, mark the writer rightly, and commonly use checking system of articles similarity for preventing plagiarism in advance. Subject of current research ethics should consider distinctiveness of dance studies and I wish it leads to training needs of dance studies intensively.

This study is the first step to build electric culture map in advanced form with the topic of korea intangible cultural heritage dances. It aims to search for design methods for electric culture knowledge map. In order to achieve the objectives of the study, the present status of electric cultural knowledge map design methods was researched. After identifying the problems and systems of cultural heritage from Cultural Heritage Administration, the directions of electric cultural knowledge map design were suggested. As a result of study, the electric cultural map attracted interest and attention from domestic academic circle since ECAI started in 1996. And then it has expanded to humanities, geography, history, folklore, etc. Accordingly, the development of useful electronic cultural map was required as a new form of dance history and research tools in the field of dance. Second, as a result of reviewing the cultural heritage map from Cultural Heritage Administration, the cultural heritage map reached the current advanced level by building nation-designated cultural heritage information with electric cultural map over about 10 years since 2002. It also provides with movies, photos, monographs, etc. visually. However, the vast amount of troubles was found from search index, types of cultural heritage, location expression, distribution, information error, etc. They are the errors which occurred in the middle of building and classifying a great deal of data. Classifying system of easy search and multi-functionality was required. Third, the korea intangible cultural heritage suggested as problem recognition, electric cultural knowledge map of dance targeted only intangible cultural heritage dance to improve information provision. Linking to professional academic information like paper, it provides integrated professional knowledge, which is a dynamic content. Therefore, according to designed system, area classification and input guidelines were suggested as examples. Virtual map was realized to identify the potential to build electric cultural knowledge map of dance.