This study investigated the family names of gakkge (musician families) and the status of appointment of each family name as recorded in the Appointment to the Chamber of Music (Gakuso Boin) in order to investigate important elements of Gagaku (Japanese Court Music). In addition, this study retraced the line of each family name. The Appointment to the Chamber of Music is a document that records the gakunin (musicians) who were appointed to the Chamber during a 153-year period between the late ancient era and the early Middle Ages. A total of 25 musician family names appear in this book. Of these families, five were most often appointed to gakuso (the Chamber of Music): Koma, Ono, Ogami, Toyohara, and Abe. In particular, the Koma line represents almost 30% of the people appointed, indicating that they were the most prestigious gakkge. In addition, of the 25 family names in the Appointment to the Chamber of Music, 22 were also recorded in the Newly Compiled Record of Clan Names (Shinsenshoujiroku). Of these 22 names, four are classified as originating from the Korean Peninsula line: Toyohara, Koma, Kudara, and Miyake. In turn, these names were further subdivided into 11 related family names: Toyohara was divided into Toyoharatsurane; Koma was divided into Komanoobito, Komanomiyasuko, Komasomebe, and Komahito; Kudara was divided into Kudaraason, Kudarako, Kudarao, Kudaraki, and Kudarauji; and Miyake was divided into Miyaketsurane. In a similar way, the Japanese Aak world has experienced repeated succession and severance of member families as a result of various social and political changes. The institutionalization of so-called Sanpogakuso defended gagaku during the ups and downs of succession and severance, and a large number of Sanpogakunin in Sanpogakuso were musicians with a Korean Peninsula line family name. In the modern era, since 1873, as gagaku was opened to people other than gakkge, and the system of transmission was no longer based on hereditary succession, musicians appeared who did not hail from a musician family, such as Horikawa Hisatami. As a result, gakunin who do not descend from gakkge have represented approximately half of the 26 gakunin in the Board of the Ceremonies of the Imperial Household Agency. Nonetheless, gakunin, including Ue Sanemichi, whose origins are in the Korean Peninsula, have remained active in the Japanese Aak world to the present day.

The purpose of this study is to vigorously investigate international developments in Korean Dance by domestic private dance troupes. The study is based on the performance records of private international dance troupes from the early 2000s, troupes that were active since 1980. The Chang Mu Dance Company and the Didim Dance Company are among Korea’s leading performers and feature dancers who play a prominent role in the globalization of Korea by presenting performances that captivate audiences around the world. The recent Korean Wave may also trace its origins to the popularity of these dance troupes.

The purpose of this study is to examine Western works of art through a historical and archival point of view related to arts psychotherapy. The method of approaching visual works of art is based on essential attributes of art therapy history. The theoretical background is founded in publications and research papers relating to art history, arts philosophy, and expressive arts therapy. To examine contemporary Western works of art and artists, Pablo Picasso, Jackson Pollock, and Henri Matisse were selected for analysis and exploration of the origin of arts psychotherapy. For the purpose of discussing the conceptual foundation of dance therapy, the characteristics of Western works of art and artists were examined, resulting in the following findings. First, the characteristics of Pablo Picasso’s “Three Dancers” include free-form expression, destruction of form, and bodily expression of subjective emotions arising from an inner world. In particular, “Three Dancers” exhibits Symbolism, which is one of the main elements of dance/movement therapy. Second, the characteristics of Jackson Pollock’s “Mural” and “Rhythmical Dance” represent Shamanism and strong Body Action, both from the artifacts and the process of creating them. Lastly, Henri Matisse’s “Dance the Second” and “Two Dancers” show a simple and strong color composition which emphasizes the harmony of nature, humans, and the power of Rhythmic group activity, also a main concept of dance therapy. As a result of the analysis, these three important Western artists and works of art are seen to demonstrate meaningful perspectives and theoretical foundations of dance therapy. Indeed, their works of art could be considered valuable documents of dance therapy history. This study is limited by its focus on only a few selected artists and works of art. A larger, follow-up study is needed to rule out over-generalization. Second, interpretation may be limited by the subjectivity of the author. For this reason, the author included a number of references to support the study’s point of view.

This study begins with the question of what dances were performed in the Sa-ak during the Joseon Dynasty. The Sa-ak (賜樂) consisted of a director, musicians, female entertainers, boy dancers, and a Cheoyong masked dance group. The research objective is Jeongsanggonhoenangilok, which was written to celebrate Hoebang (回榜)’s 60th anniversary of passing the state examination by Jeong Won-yong(1783- 1873). The Joseon wangjo sillok (朝鮮王朝實錄) and Akhakgwebeom (樂學軌範) were also sources of background material, consisting of official records and literary works, that were subject to review. In terms of the rites of the Hoebang, on January 1, 1862, the king gave orders. In addition to feasting by the royal family, the government allowed citizens to also participate in festivals, many of which were held over the course of two months. Relative to the Sa-ak, the king established the first degree of Sa-ak, which consisted of a total of 52 people: 1 director, 36 musicians, 10 boy dancers, and 5 Cheoyong masked dancers. They performed for two months. In terms of the performances, the repertoires of the boy dancers were not recorded and remain unknown. While it was performed leisurely, it gave a feeling of flourishing and colorful. The female entertainers performed seven kinds of dances along with the Jangagwon orchestra: Cheoyong masked dance, sword dance, drum dance, pogulak (dancing ball into hole), seonyulak (dancing to play on the ship), and hyangbal heonseondo (dancing to give a long life peach). These repertoires were the most popular forms of jeongjae (呈才) in the late Joseon court. The Sa-ak was performed as part of a private feast. “Sa-ak” is an important keyword for understanding the culture of Korean dancing, because it spreads as “Sa-ak” in private space, and has the character of cultural circulation in which the enjoyment of royal court dance extends to individuals.

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.

Since the 1990s, Korea has developed into a full-fledged multicultural society with an increase of foreign workers, marriage immigrants, and defectors. Today, as multicultural education is emerging as a critical task for Korea in the 21st century, it is a crucial moment to examine what role Korea’s dance education plays in such a multicultural society. The purpose of this study is to search for an appropriate type of dance education, given Korea’s transition to a multicultural society. Thus, this study conducted comparative studies between the United States’ form of multicultural education and France’s intercultural education to identify the current status and problems of dance education in Korea. Based on this analysis, four ways in which intercultural education has been applied as an alternative to appropriate dance education in Korean multicultural society are presented. This study attempts to identify the similarities rather than the differences in intercultural dance education. Furthermore, children coming from immigrant families and students from ordinary households want to communicate with each other through various traditional dances. Therefore, intercultural dance education needs to be extended to immigrants as well as native citizens. Additionally, a community dance program that implements intercultural education for a large number of inhabitants and a small number of immigrants should be established. If dance education that emphasizes communication and mutual integration is formulated to meet the needs of the present age, it is expected that it will also be a great help toward creating a safe and healthy multicultural society. Through this study, the importance and value of dance in Korean multicultural society will be re-acknowledged, and the value of dance education for leading the way toward a 21st century multicultural society will be illustrated.

Shusterman developed somaesthetics, which emphasizes somatic consciousness and practice based on pragmatic aesthetics. Somaesthetics is closely related to the somatic approach to dance, which focuses on the dancer’s inner experience as the cognitive subject. This study purposes to analyze the relationship between performative somaesthetics and dance in order to determine how somaesthetics contributes to dance as an art form as well as provides the theoretical framework for the dancer’s movement exploration. For aesthetic communication between dancer and audience to occur through dance expression, it is necessary to develop the dancer’s expressive power. The dancer can enhance his/her expressive power through the development of abilities to form motor programs in dance, process proprioceptive information, and perceive dance space. These are closely connected with the development of the dance body, that is, the body schema in dance. The development of the body schema in dance is the outcome of conscious efforts to transform the everyday body into a dance body. From the perspective of somaesthetics, this implies the transformation of the dancer’s body into the aesthetic medium through practicing performative somaesthetics. The development of the dance body makes a dancer able to perform dance movements in a refined and natural way, in which the dance schemata functions preconsciously. As a result, aesthetic communication with the audience is enhanced. Therefore, through somaesthetics, particularly performative practices, the dancer develops a dance body to contribute to the expressive power of dance. As the audience reaches deeper understanding and experience of the movement possibilities of the dance responding to the dance environment, its appreciation may be heightened. This implies that it is important for students to have performing experience in the dance curriculum through experiential and performative practices in order to enhance the abilities of evaluation and appreciation in the dance performance.

This study seeks to interpret how femininity is revealed in Seung-hee Choi’s dancing body and how it was expressed in daily life at a time when patriarchy and the concept of the “new woman” collided. In early modern dance and in later works of Korean traditional material and Oriental images, we see aspects of bold, dignified women. These reveal a feminism that conforms to established male ideals and challenges classical femininity. In contrast, Seung-hee Choi practiced a progressive to her life and to marriage. The romantic relationship she shared with her husband was not like those of radical feminists. Instead, the couple forged a modern marriage that linked them as a mental partner and a mentor of life. The tendency of her work was also affected by her husband, so she created dance of proletarian tendency and then developed Korean dance. Seung-hee Choi succeeded at both her career and marriage. Seung-hee Choi was also a celebrity in her time for emphasizing femininity through her fashion. She retained her bob style hair and wore Western clothes indoors and out. The hats, coats, dresses, clutches, and shoes that she wore were carefully chosen to coordinate with the Art Déco style then in vogue in Paris and the U.S. This form of fashion reveals a graceful, sophisticated, and self-assured femininity.