The purpose of this thesis is for extracting and distributing literal imagery about dance movements in poems written in Tang dynasty. As a result, literal imagery about dance movements were mostly extracted from blowing sleeves, slow and fast spinning movements, and various dancing movements. Furthermore, there are literary rhetorics of beautiful figures, faces, and slender waists of dancers. Adn dancing movements of Geon-Mu were described as dynamic and speediness; while as dancing movements belonged to Yeon-Mu were depicted as soft, lyrical, and elegant. Those descriptive words for dance in Tang dynasty’s poems were highly artistic language while it could be compare to the literal shaping of dance. This thesis analyzed literary phrases of dance movements in Tang dynasty’s poems; so that how the people appreciated substantive esthetics in music and dance, not for philosophy and pragmatic theory.

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.

This study is about the Kim Su-ak’s Salpuri-chum focusing on Jinju region. The methods of studying are direct learning and collecting basic sources such as interviews and technical training from Kim Su-ak. Kim Su-ak first acquired Salpuri-chum while learning various dances from Choi Soon-i who was a dancing master of Jinju Gwonbeon (Female Entertainers’ School in Jinju Region). But she formed her own syle Salpuri-chum with adding her artistic talents. The progress of this study was as follows: first, learned the formation of Kim’s Salpuri-chum. Second, analyzed the features of Kim’s Salpuri-chum while dividing the dance into incidental music, important dance phrase, and aesthetic characteristics. As the result, both Kim’s Salpuri-chum and Salpuri-chum in Jinju Gwonbeon style give strong feelings to the dancer or the audience with the pleasure rather than the sorrow; also these dances suggest a dynamic image rather than a static image. While as Kim’s Salpuri-chum is recognized artistic value, but unfortunately, the dance was not been designated as intangible cultural heritage. Therefore the rate for learning students for this dance is relatively decreased. However, this dance perfectly contains a unique and intact form of local dance movements in Youngnam (Southern regions of Korea), so that the study of this dance will be playing a role to reveal the historicity of Jinju dance. Also, I hope to enlarge various bases of Kim’s Salpuri-chum.

The purpose of this research is to explore if the Feldenkrais Method(ATM), a leading approach of the somatics field, is positively applicable to Royal Court Martial Arts. Three research questions were prepared to achieve the purpose of this study. As a research method, experiential description based on phenomenology was employed. The researchers of this study applied the ATM to a practical field of Royal Court Martial Arts, Pyung Soo Beop in particular for 100 days. Making the training logs, the researcher described them in a lingually representative way. The result of analysis and interpretation of the somatic data were as follows. First, what appeared on Sensory Awareness Training during the process of learning the ATM of the Feldenkrais Method, were largely categorized into three features. (1) ‘intentional exploration’-the process of recognizing intention through movement, (2) ‘relaxation and communication’- the process of delivering the intention of the movement and (3) ‘integration and arrangement’- a status that looks for and recovers a definite intention of movement. Secondly, the answers of the second research questions, were characterized by the following five features: exploration, concentration, coordination, integration, and energy. (1) ‘exploration’ is the first step to discover an accurate intention at the starting point of a motion. (2) ‘concentration’ is the step to recognize and understand the definite intention of a motion. (3) coordination is the step to recognize given information through the process of concentration, and then, to continue to look for the most effective way through a ‘coordination’ of organic movements. (4) ‘integration’ is the step to relax, transit, be aligned, and be recovered through the most efficient movement. (5) ‘ki energy’ is the last one, which not sequential, overall, so it is distinguished form the order of the other steps. Thirdly, the findings to the third research questions were as followings. (1) breathing was improved and changed to be easy, comfortable, stable, and deep. (2) coordination and balance were harmoniously improved. (3) through organic harmony of movements, the body’s alignment changed into a balancing and stable state. In conclusion, this study showed that Royal Court Martial Arts applied by ATM could improve performer’s sensory awareness ability in general, integrating function and structure by intentional movement, through which training of the Martial Arts could be improve in quality.

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.

This research aimed at verifying the effect of square step program for the elderly's cognitive ability development. As the research object, total 80 were assigned, i.e. 40 of experimental group and 40 of control group from an institute in N-dong, Gyeonggi area, who has no cognitive impairment such as dementia and physically healthy. For the experimental group, total 24 sessions of square step program were implemented twice a week during 3 months, and as the result of inspecting cognitive function(MMSE-K) and the elderly's quality of life(GQOL) criterion before and after the implementation of program, following results were deduced. First, as the result of verifying difference change between before and after MMSE-K square step program implementation, experimental group appeared to have statistically meaningful difference compared to comparative group(p<.01). Also, in the situation when cognitive function preliminary mark was set as covariance, sum of MMSE-K, space orientation, attention concentration and calculation, memory retrieval, language function, understanding and judgment appeared to have statistically meaningful difference(p<.01). Second, as the result of verifying difference change between before and after the elderly's quality of life(GQOL) square step program implementation, among sub factors of the elderly's quality of life, experimental group appeared to have statistically meaningful difference in social relationship, physical health, environment, psychological inconvenience, physical stability(p<.01). Also, in the situation when the preliminary mark of each sub factor of the elderly's quality of life as covariance, whole sub factor social relationship, physical health, environment, psychological inconvenience, physical safety, mental and physical stability appeared to have statistically meaningful difference(p<.01). In conclusion, it was verified that after participating in square step program, the elderly's cognitive function and quality of life were improved.

This study starts from the question of what kind of dance had been appreciated by Chinese envoys. The major spots where Chinese envoys visit are Uiju-Jeongju-Anju-Pyeongyang-Hwangju- Gaeseong and there are banquets for Chinese envoys, with female professional entertainer, called as gisaeng’ s dance performance. According to Joseonbu朝鮮賦, solmu率舞 which is a type of group dance was performed in Pyeongyang and Hwangju. Dance was included even in various amusements. And it was intended to show the very peaceful time to Chinese envoys through performing dance and song by gisaeng at han river. Also small scale dance was performed in Chinese envoy's personal space. The dance which was enjoyed by China Ming envoy in court banquets for Chinese envoys is ․․․․․․ ․․․․, court dance called as jeongjae(呈才). The number of gisaeng who entertained Chinese envoys was forty, during the reign of king of Sejong. The number of dances which has been enjoyed by the Qing dynasty envoys is smaller than what has been enjoyed by the Ming dynasty envoys. The number of parties and dance performances for Qing envoys in local is also smaller than Ming dynasty envoy's case. The Qing dynasty envoys appreciated jeongjae which was performed by dancing boys as called mudong in the court. According to diplomatic records in 1720, as called Tongmunganji, those were ㆍㆍㆍ etc.

Recently, circumstances for dance creation are changed, so choreographers choreograph in various methods. For example, employee choreographer, guest choreographer, joint choreographer, assistant choreographer, repertory choreographer, musical choreographer, collaboration choreographer. The purpose of this study is to examine, based on Korean Copyright Law and precedents of Korean court, who owns the copyright in these various choreographic participation methods and the effect of copyright ownership. As a result, this study concludes as follow: First, in case of employee choreographer, when choreography was done as part of his job under employer's planning, a work was played in the name of employer and as long as they have no other set in a contract or employees' rules, employer has a copyright. If not, employee has a copyright. Second, in case of guest choreographer, he or she has a copyright. If client and choreographer have agreed to transfer copyright to client by the contract, only author's property rights are transferred to client and author's moral rights are left to choreographer. Third, in case of joint choreographer, when several choreographers created a work jointly, and each contribution part is indivisibly united, so it is not available separately, everyone have copyright. But when each contribution part is available separately, each choreographer has copyright to it. Fourth, in case of assistant choreographer, only when he or she created really to some degree, he or she has copyright with choreographer. Fifth, in case of repertory choreographer, when he or she changes original work enough to be accepted as new work by social norm and his or her work is actually similar original work, he or she has secondary copyright only to the new elements of the derivative work. Sixth, in case of musical, when choreographer creates dance part, he or she has copyright alone to it. Seventh, in case of collaboration, artists of different genres can't generally have copyright to choreography, however, when a fusional work was created jointly, everyone has joint copyright.

This article analyzes my dance work, Walk. It is crucial that dancers, as the main agent of dance art, embody their dancing as real experience and recognize their dancing bodies. This research questions if dancers, when becoming the principal agents of their bodies, experience bodily subjectivity differently from what they feel when they passively dance. The methodology used for this study includes practice based research and dance analysis. In terms of literature research, we examined the historical recognition and discourse of body in order to understand dancers’ bodily subjectivity. Practice based research refers to a particular type of inquiry that interrogates the whole process of artistic creation from the conception to the performance. For this, we analyzed somatic data that were generated in the process of creating my dance work Walk in order to illuminate the changing recognition of bodily subjectivity. When it comes to dance analysis methodology, we adopted Janet Adshead-Lansdale’s dance analysis model. The research’s findings are as follows. dance works Walk adopted bodily exploration early in the stage of practice, dancers could move their bodies with more integrity. Dancers in Walk showed individual differences in terms of their depth of recognizing bodily subjectivity as well as of the speed of experiencing their bodies. However, as they gradually experienced their own bodies, they became more confident and showed progress in performing creative movements. These analyses indicate that dancers as well as artists can recognize their bodies as active and subjective when an inquiry on bodily subjectivity builds on. The dance field in Korea has shown little interest in the significance and possibilities of bodily subjectivity. we hope this research would stimulate further inquiry on bodily subjectivity.

This study has considered focusing on the patronage environment of the process where Choi Seung-hee dance had settled down as the pioneer in modern dance ahead of its time based on her performance of current 105 research in 2011 including books, master’s and doctorate degree theses, academic and symposium journals. The patronage environment of Choi Seung-hee dance has been limited to Asian region while classified into domestic and overseas. The domestic patronage environment includes Choi Seung-il who has played the most important role in her family members, cultural artists and association surrounding An-mak (An Pil-seung), and media organization and so on, developing a positive patronage environment. In overseas environment, this study has concentrated on the formation of ‘the White Cross Institute’ which is an official title of the Choi Seung-hee supporters association in Japan, and based on the political culture and supporters’ environment in North Korea and China, the performance that described overcoming the wartime condition and the period of political tumult could be staged. Among the initiators of White Cross Institute (白十字會) who had begun the patronage activity at the onset of ‘the Second Recital of New Choi Seung-hee Dance,’ many artists, politicians, presidents of magazine publishers, and cultured individuals who are chosen as the top-notch in Japan such as Baku Ishii or Yasnari Kawabata. Especially, many of the nationalist leaders who had worked for the independence of Joseon Dynasty were included and gained public attention. As a result, at the base of the fact that Choi Seung-hee dance has become internationally famous, the supporters’ association, politics and media, and military support involving progressive and literary foundation starting from the open and modern education in the literary family background have formed a dynamic structure in the background. At the groundwork of such patronage environment, one could figure out that more solid philosophy of dance was founded to establish the system of creating works and the performance environment. In a personal aspect, the most meaningful result from this study is that this research is the first to disclose the fact that the title of the Choi Seung-hee supporters association is ‘the White Cross Institute (白十字會)’ and the title of the well-known photograph in which a woman is jumping into the air with a transparent veil on her hands in the field in autumn is ‘Jeokgu Heunmu (赤丘欣舞).’

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.