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.

The purpose of this study is the job strain troupe of professional dancers and organizational commitment, job satisfaction, and to investigate the effect on turnover intention. The subjects were 241 patients in the final analysis of data was utilized as regular members belonging to professional dance groups throughout the country. Statistical methods for hypothesis testing was conducted using AMOS confirmation factor analysis(CFA) and structural equation modeling analysis (SEMl). The results were as follows. First, job strain of professional dancers have had a negative impact on job satisfaction. In addition, job strain had a positive effect on turnover doctor. Second, the job satisfaction of professional dancers appeared to have a positive impact on organizational commitment. In addition, job satisfaction was found to have a negative effect on the degree of separation. Third, however, job strain on organizational commitment, organizational commitment had no significant effect on turnover intention.

This postmodern era that we live in has its characteristics of eradicating the boundaries between forms of art. In this movement, where pure art and popular art are actively fusing and the importance of popular dance is becoming apparent, this paper has been developed to study a representative case on popular dance. For research methods, case studies and Dance Analysis has been combined. Case studies on idol related publications and thesis papers were used to demonstrate concepts and characteristics of popular art and idols. With Dance Analysis, details of has been examined. To accomplish this task, details from news articles, pictures, music videos, and stage clips has been reviewed and the four stages of Dance Analysis, describing the Components of the Dance, Discerning the Form of the Dance, Interpreting the Dance, and Evaluating the Dance has been applied. The three following conclusions can be drawn from this study: First, the dance emphasizes cuteness and sexiness to attract male fans. Second, the dance moves are highly repetitive, which makes it easy to pick up, appealing to the mass, exciting and enjoyable with popularity. Third, the easy-to-follow moves are friendly and makes the spectators join to develop an extraordinary feeling of group cohesiveness. In this culture, popular art has significant influence on people. I earnestly hope that this work could offer a complimentary vision for popular dance to rediscover its true meaning and value and elevate its status to a inspiring dance.

To investigate dance graduates current state of employment, preparation process for the foregoing and job satisfaction, this study selected 108 graduates who graduated department of dance within three years as subjects of study. After establishing two study questions according to the purpose of study, this study used a questionnaire composed of total 22 questions. This study carried out descriptive statistics, frequency analysis, reliability analysis and correlation analysis using SPSS Win 18.0 program to analyze all data collected, and results are as follows. First, about 54% of graduates are getting jobs in the field of performance including dancers and choreographers as types of employees, and their monthly average income ranged from more than 1 million to less than 2 million. And responses that development of ability in the field of major is the most important for employment and prepared more than three years were the highest. As for the route of employment, about 59% were receiving help from introduction of acquaintances. Second, results of descriptive statistics on job satisfaction show that occupational profession was the highest amongst job satisfaction, and human relations, social appreciation and support and satisfaction of economic income followed in order. And a high degree of correlation and significant differences were also found in four constituting concepts and each subfactor of job satisfaction.

The purpose of this study was to examine the concept of the dance literacy and its components along with the development process of and educational method for the dance literacy using qualitative methods. Six professional dance educators were selected using typical case selection (Miles & Huberman, 1994) and theoretical sampling (Strauss & Corbin, 1998). In-depth interviews were conducted, and the collected data were analyzed by inductive category analysis. The findings of this study are as the following. First, the concept of dance literacy (DL) is the accumulation of the knowledge and competences of understanding dancing and doing it, and the components of DL are dance knowledge and recognition skill (DL for practice), humanity knowledge and inquiry skill (DL for theory), and practical knowledge and conductive skill (DL for integration). Second, the development process of DL is categorized into implicit learning stage, selective perception stage, and spontaneous learning stage. Third, the development methods of DL are dance practice, research on dance theory, and learning through the community of practice. Based on the results, it will be helpful to promote the dance educators’ professionalism, make qualitative changes on dance education, and foster professional dance specialist.

The notational method for Baroque dances, created by Pierre Beauchamps in 1674 and published by Raoul-Auger Feuillet in 1700, was received exceptionally well and understood to be the best method to record Baroque dances during that time. However, it was not until the 1980’s that it was appreciated again, and enjoyed a renaissance. This paper focuses on the Baroque dances choreographed by Guillaume Louis Pécour. There are 539 Baroque existing dance notations and Pécour is recognized as the most productive choreographer in the Baroque era, making 49 dances for balls and 71 dances for theaters. One of his masterpieces, Entrée Espagnol pour un homme et une femme, is analyzed to show the characteristics of his choreography. Pécour’s most notable characteristics in his choreography of Entrée Espagnol pour un homme et une femme, from the Opera-Ballet L'Europe Gallant, was the intermixing of the difficult movements with the easy ones, and the soft movements with the strong ones. For the music, Pécour used a variety of methods and would use three beats in the first part, or in the second part. He utilized these atypical music and dance methods to choreograph technically difficult movements harmoniously. We emphasize the importance of the notation by reproducing the dance choreographed exactly as it was done 318 years ago and analyzing the characteristics of Pécour. Without the notation, we could never figure out how beautiful the Baroque dances were. We expect this paper to encourage further study of Baroque dances in Korea.

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 investigate an aspect of dancing transformation and its social meaning in the late Japanese occupation of Korea. Japanese had strengthened a war footing immediately after the Sino-Japanese War in 1937, and then they had controlled the daily lives of Korean people thoroughly by applying fascism to them. Regarding dancing, Japanese made Korean people be the actual new imperial citizens (Hwang-guk-sin-min) by calling it the national dancing, and Korean people couldn't help adapting to a new system of dancing. The new system of dancing was applied under the name of 'Emotional education for cheerful and rich life', but it was how to standardize Korean people. As for stage performing art, Japanese-oriented performances had appeared and there was A Song of Remembrance for Buyeo (Buyeohoisanggok) as a prominent performance. Buyeohoisanggok was created for 'Korea and Japan are One' policy by the Japanese Government General of Korea, National Total Chosun-Federation, and the Daehan-maeil-sinbo (newspaper), and it was a representative performance of propaganda. In addition, Japanese presumed upon Choi Seung-Hee's ability for Hwang-guk-sin-min and 'Korea and Japan are One' policy. In the early 1940s, she had advocated 'oriental dance' and created lots of performances under the influence of the Greater East Asia Co-Prosperity Sphere. Furthermore, she had donated profits came from performance to Japanese government under the name of contribution for nation, so she cooperated with Japanese half-willingly and half not. Akgeuk, which was the most closely related with the public, also accepted new changes through dance drama. The musical drama played a role of escapeway to forget the pain of the age for a little while through a peripheral stimuli. As the above, dancing in the late Japanese occupation of Korea had been transformed in sympathy with the stream of times.

In the second volume of the book Samguk Yusa (The History of Three Kingdoms), Cheoyong appears as a son of the Dragon King of the sea in an era of King Heongang of Silla. He got married to a beautiful wife from Silla. One day, as he came home late, he discovered that his wife was sleeping with a god of epidemic. Looking at the scene, Cheoyong chased away the god by singing and dancing. In this folk tale, the meaning of each characters is interpreted as follows: the god of epidemic means disease, his wife means a patient, and Cheoyong himself means a dance therapist. I approached Cheoyong Dance as an act that he defeated the god. In this paper, I would like to develop a new therapeutic Cheoyong Dance for promoting health by combining traditional Cheoyong Dance and Gigong Exercise. This will be the way to approach the public easily as another role of healthy Cheoyong Dance. The combining Cheoyong Dance with Gigong exercise will be the way of promoting healthy life and wellbeing.

Traditional art genres have been differentiated and developed as new types in a 21st century that is already accustomed to diversity. In particular, modern art was grafted to digital media to escape the negative limitations of the traditional class to enjoy something through an expansion into popular culture with de genre. As a result, the art world was able to determine how to promote this expansion, leading to a fusion and reinvention through “communication and integration” between genres. Recently, the attempt to develop a research-intensive genre has been progressing by grafting arts genres, differentiated under a paradigm called “The same starting point,” through exchanges and convergence. Particular attention has been given to grafting the characteristics of modern poetry to dance creation and performance in a fusion of literature and dance. This fusion can be divided into two types based on the intertextuality of the two genres. One is poetic dance, with the poetry-dance concept expressing poetic nature through dance, while the other is the dance scenario poem, with the dance-poem concept focusing on performing arts. Though the two concepts are not independent art genres, from the viewpoint of fusion and re-creation, they can be evaluated in terms of how they individualize dance’s deep poetic soul and poetry’s dynamic symbolism. The purpose of this study is to establish creative methods for poetic dance drama, with the essay focusing on creative process methods for three dance poems using a typed person with repose of souls through the symbolic images of Kokdugaksi Norum, which is a traditional drama, in convergence with the plot of ssitgimguk (a shaman ritual for cleaning a dead person’s soul), which is a folk ritual of sacrifice, and modern poetry. In Chapter 1, for the conceptual definition of poetic dance drama, the prior research on the intertextuality between poetry and dance will ber reviewed, while Chapter 2 will premise the creation of poetic dance drama, analyzing the story and character structure of “Lemuralia” in order to apply in earnest the relationship between a ritual of sacrifice and original art to creative activities. In Chapter 3, the essay will explore creative methods through the analysis of actual poetic dance drama. It aims to expand the arts in modern society by encompassing an emotional re-convergence with different arts genres from traditional society. In order to complete the poetic dance drama, Kokdugaksi Norum, conducted in this study, this researcher summarizes the creative methods of poetic dance drama mentioned above according to three points of view. The first is a mix between arts genres that borrow from Korean culture. The second coordinates poetic creation and the language arts within a process for broadening our understanding of the symbolic and dynamic movements of dance, body arts in terms of recognizing performing arts. The third fuses poetry with dance in combination with dynamic images to recognize the poetic soul and to identify the possibilities inherent in communication, individuality, and the convergence of arts genres in terms of creating community awareness that can be interpreted as an object of symbolic meaning.