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.

This study is to find the significance of Seungmu(Buddhist dance) in Han Yeongsuk’s style by analyzing musical and choreographic characteristics of its Dangak movements, which distinguish itself from other styles of the Seungmu, in the light of exhilaration consisting of the basis of Korean culture. By this study, it is achieved to firm the identity of Seungmu in Han Yeongsuk’s style and determine its significance in the history of Korean traditional dance. The following is the result of this study. Firstly, Dangak is the movement that four of very fast three counts consist of one beat, played when a shaman has a dancing ritual for a spirit to possess the shaman in Seoul and Gyeonggi area. Dangak rooted in this shaman music is conservative in that the shaman music is the music for a spirit but at the same time also open and dynamic because it is professional music for audience in performance field. Dangak movements which accompaniment is based on such dynamic shaman music is most likely to bring exhilaration and amusement out by various melodies of performer’s impromptu playing and repetition of rhythm with fast speed and a number of beats. Secondly, in the dance of Dangak, the performance starts primarily with the dance spreading, winding, laying or turning Jangsam(the robe of Buddhist monk) or throwing it over the shoulder. Then performer takes the drumstick out of the robe and beats a drum, holding back the sleeve and dancing each motion with robe and drum harmonized. This can be said a master of dance mingling Jangsam and drum with beauty of balance, which has been developed further from the prior form of dancing that was with only Jangsam or onlydrum beating. As accompanied with such world of Dangak dance, dynamic of Dangak accompaniment with fast speed accelerates the elevating energy generated from the harmony of drum and Jangsam, creating aesthetic performance to sinmyeong(exhilarate). Moreover, it has no diagonal motion but makes the repetitive motions balancing at center, such as moving from center to the front or from the front to the back, so that it has satisfied the requirement to maximize strong and active energy. In other words, various dancing motions balancing at center including stepping forward and backward, turning and taking steps back are fitted with fast rhythm, lifting up the atmosphere of exhilaration gradually. Thirdly, considering Dangak movement of Seungmu in Han Yeongsuk’s style has been evolved into Dangak dance with drum beating and the motions using Jangsam harmonized, it deserves the significance for its unique identity. Furthermore, it is a representative dance as one of the best Korean traditional dances since it has embodied an aesthetic structure arousing exhilaration, the root of Korean culture, with its own composition elevating from slow rhythm of the monotonous rule in traditional music to fast one.

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.

The purpose of this study is to identify the implications of Jing dance in individual performance of Honam Woodo Nong-ak Pangut which faces the crisis of the tradition preservation through the analysis of socio-cultural context and structure. To be concrete, it specifically explores Jing dance in the style of Park Ok-joo which is derived from Honam Woodo Nong-ak and attempts to understand the inherent implications of Jing dance. Therefore, this study tries to deduce the inherent implications of Jing dance by exploring the life of Park Ok-joo, the socio-historical backgrounds of Jing dance in the style of Park Ok-joo, and the components of Jing dance in the style of Park Ok-joo. The results are as follows. First of all, Jing dance in the style of Park Ok-joo was transformed from the masculine dance which had passed down from old time to the feminine dance. Secondly, it is the technical dance to expand the boundary of stick-stroke. Thirdly, it is the dance of Nanjang (reckless beating) to elicit catharsis. Fourthly, it is the dance of extemporization consist of insertion and competition. Based on the implications stated above, this study provides general basic materials to inspire the attention for Jing dance which has been unremembered for a long time in order to let the legacy continue. It is expected that this study can make an opportunity or opening the new horizon of investigating Jing dance and promoting multifarious follow-up studies as well.

The purpose of this thesis is to interpret contemporary ballet work Cinderella via feminist perspectives. The effort of theoretician feminists affected feminism in the eighteen-century (18th). The Feminist movements showed new research about women’s dance, in particular to the changes in the understanding of woman's body movements and the interpretation of female dance. Furthermore, contemporary dance focused more on the feminist view. The literature review of this study found that various research studies accepted the effects of feminism on common arts and dance. Using Janet Adshed’s dance analysis methods, this study examined Jean-Christophe Maillot's contemporary ballet Cinderella focusing on the dance movement patterns of the wicked stepmother and two stepsisters. This study used the performance video to analyze the movement patterns in Maillot's Cinderella. On feminist viewpoints, firstly, the wicked stepmother and two stepsisters were not shy when they were looking at men. Their movements freely expressed their passions and feelings. Also, their acting displayed such the emotions as joy, sorrow, and anger without inhibition. Secondly, the movements of the wicked stepmother and two stepsisters showed passion and feminist feeling in their Pas de deux employing liberated movements of their chests. Accordingly, the wicked stepmother and two stepsisters had a strong liberal inclination. The relationship between Cinderella's father and the stepmother has control. The findings of this study suggest that Maillot's Cinderella be interpreted and understood in the realm of feminism and feminist theories.

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.

The interface of technology tends to limit human movement as the body adapts particular movement patterns to interact with a machine. The multi-touch gesture interface employed by a smartphone also demands a user's certain movement patterns in order to deliver his or her tactile command to the machine more effectively and efficiently. This study aims to observe and analyze the movement of smartphone users and to identify its characteristics associated with the use of such a device. To demonstrate this, 30 second-long movement samples were collected from three different smartphone users and fully investigated at a micro and macro level based on Laban Movement Analysis and Bartenieff Fundamentals (LMA/BF). The findings of this study suggest that smartphone users tend to stay in the same Shape Form with the same size of Kinesphere for a period of time and use distal parts of the body with relatively small movements. The actions frequently performed are touching and sliding, which mostly show one-dimensional directionality; and stillness. In sum, the Inner/Outer movement theme is predominant in the context of using a smartphone as users exist in the inner world or make a bridge to the environment by attending to the device or to themselves according to different inner needs to manipulate the device or to take information from it.