This study aims to understand how the terms ‘muyong (dance)’ and ‘shinmuyong (new dance)’ were initiated, used, and established in Korea through newspapers in the Japanese colonial era such as the Maeil Shinbo, the Dong-A Daily news, and the Chosun Ilbo. The term muyong was first used in Japan, as suggesting a new formal characteristic of being not only Western and but also Japanese. It was simultaneously born with shinmuyong, a term indicating a type of dance newer than the existing one. Shinmuyong indicated an achievement of creation of new Japanese dance that was regarded as being compatible with that of the Western powers. It was an article on the Maeil Shinbo dealing with Yeki, a Japenese dance, on October 7, 1913 that introduced the term muyong to Korea for the first time under Japanese imperialism. In the Dong-A Daily news, muyong represented the term ‘Western dance’ when European tanz theater in 1920s was introduced; it was used to indicate a type of Western dance with philosophy and artistry. The Chosun Ilbo first used the term muyong in its article titled “Western Dance Nowadays” on October 7, 1927. Since then, both mudo and muyong had been used to refer to dance until early 1928, but since late 1928, the use of muyong had increased rapidly in the newspapers and then became generalized. The first article describing classical dance such as geom-mu (a sword dance), a Korean traditional dance, as muyong was the one written by Kim Dong Hwan dated May 12, 1927. The term shinmuyong was perceived as a creative dance that produced something new in 1930s in Korea. It was, in other words, used as a term similar to new-work dance, creative dance, or creative artistic dance with artistry and creativity on the basis of European modern dance.

The purpose of this study is to suggest a way to reconcile two conflicting concepts: the system of intangible cultural assets and creative succession of traditional dances. Among the terms for intangible cultural assets in Korea, ‘prototype’ was changed into ‘typifier’ because of the legal revision in 2016. In addition, the term, ‘human cultural assets’, which has been actually used was enacted. Typifier is an advanced concept which makes a bridge between intangible cultural assets and artistic notion, while human cultural assets are also a concept that acknowledges an indissolubility between dance and human being. In order to encourage creative succession, while maintaining and preserving the artistic view on intangible cultural assets, this study proposes the following suggestions. First, we should actively find and appreciate holders of human cultural asset in their 40s-50s. It would help activating the dances and forming an independent job field. Second, we should acknowledge more than two people as human cultural assets for an item, accepting various and creative successions. It leads to restraints power monopoly and to promote competition among them. Last, succession fees should be unified by the Cultural Heritage Administration for securing transparency and fairness of accounts. These would contribute to creative successions of Korean traditional dances in the system of intangible cultural assets.

This study looks into the relationship of archive and dance practices by examining a case of archive applied choreography and I discussed the creation and discourses of contemporary dance which tends to archive. For this, I took a part in work of by Min Kyung Lee and João dos Santos Martins and I discussed the choreography which archive was applied. This work was developed into choreography by collecting and newly contextualizing many reworked versions of Vaslave Nijinsky(1889-1950)’s through archive methodology. For this research, I applied Studio-Based Research in order to investigate in the field of work. I found elements that deal with the choreographic approach to archive in . First, the relationship of author and reenactor. A certain arts piece guaranteed authorship and this as the original guaranteed status in the past. However through a choreographer’s translation it seemed like a resistance against power and hierarchy given by history. Secondly, the relationship between mimesis and creation. Through many repetetion of the original piece, differences are made with it, and in the translated works exists ‘singularities’. Thirdly, the embodiment of history. A choreographical approach to archive is to actualize the past through bodies and dance. Choreography which is based on archive organizes remaining documentation by a mechanism of dance and performance and to share with the audience. Through this study, as I tried to explore the relationship of archive and choreography in a practical sense, I would suggest a perspective on the production of creations and discourses in contemporary dance using the archive.

Various studies have been undertaken about Ryouou. Some, who focus on mask, argue that Ryouou was originated India. However, the existing view of its introduction from China is found to be more compelling when examining Kyoukunshou(敎訓抄) and other literature records. Meanwhile, performance records in Bugakuyouroku(舞楽要錄) was analyzed to study the image of Ryouou. Among the five main events recorded in Bugakuryoroku including the grand Buddhist meeting, Hakkou(八講), Tyoukingyoukou(朝覲行幸), Onga(御賀), and Sumaisechie(相撲節), it was found that Ryouou was performed most frequently in the first four events excluding Sumaisechie. In addition, it was found that Ryouou was most frequently performed followed by other music pieces such as Manzairaku(万歲楽), Sanju(散手), Daiheiraku(太平楽), Sokou(蘇合香) and Shunnoten(春鶯囀) followed Ryouou in performance frequency. What is noteworthy is that these music commonly praised, prayed and celebrated the exemplary rule of the emperor or the king and symbolically expressed the authority and dignity of the imperial family. Then, how was Ryouou perceived in Japan? Ryouou was not so different from the aforementioned music. As the motif of a hero in an turbulent era was added with the image of a dragon, it is concluded that Ryouou was perceived in Japan as a music that represent a combination of the dignity the congratulatory message, prayer for the imperial family, and the peaceful regime of the king.

The purpose of this study is to identify the core capabilities necessary for a dancer to have an expertise in, art education and to incorporate the capabilities along with a practical plan in order to educate professional dance educators. The results have shown that the arts educators need core competencies in the fields of emotional cognitive, creative convergence, problem solving, humanistic, cultural educational, artistic, and healing competencies. These core skills are necessary in order to develop competence necessary for the artistic, educational and research activities of a dancer. For this purpose, a practical plan in which dancers can follow comprises steps of reflecting on the dancers who are already in the dancing world, vitalizing a sharing system amongst art educators. It also requires dance art education standard specification. and guidelines setting as well as activation of educational content and globalization of traditional fusion culture.

The purpose of this research is to examine the Soviet ballet in the 20th century in terms of socialist realism and to reappraise them. First, I focused on the conditions of ballet in the Soviet era after the October Revolution; how the classical ballet managed to survive; what kinds of works attempted by young choreographers like Goleizovsky and Lopukhov. Then, I investigated that how the Soviet ballet works represented socialist realism. Socialist realism had been the principle of creation during Soviet regime since 1934. It was not only an artistic style but also a propagandistic ideology that promoted the view of Soviet life. Socialist realism tried to show ought to be, such as an optimistic Socialist utopia not the real social problems. This trend was is based on Marxist-Leninist aesthetics. The fundamental principles of this aesthetics consisted of “nationality(narodnosti’)”, “class system(klassovosti’)” and “partizanship(partinosti’)”. I analyzed four Soviet ballets: The Red Poppy (by Glière and Tikhomirov), The Flames of Paris (by Asafiev and Vainonen), Romeo and Juliet (by Prokofiev and Lavrovsky) and Spartacus (by Khachaturian and Grigorovich). The Red Poppy was considered as the first Soviet ballet because it dealt with the theme of soviet “contemporary” life. The Flames of Paris was full of energetic and vivid character dances which symbolized “nationality (narodnosti’)” of soviet aesthetics. “Drambalet” in 1930s’ was the alternative name of the socialist realism ballet, and Romeo and Juliet was called as the genuine drambalet. Also, Spartacus was provided as the model of Soviet ballet. In conclusion, this study examined the way how socialist realism was reflected in the Soviet ballets. The aesthetic values other than the ideology were also interpreted. Finally, the further steps of study about the Soviet ballet in the 20th century can be developed on the ground of history and aesthetics.

This paper examines the meaning of the traditional dance culture that Korean people, particularly focusing on the CIS(Commonwealth of Independent States) have preserved in other countries through the tradition of Korean traditional culture. Furthermore, using online press release and publications, the authors Xaim to study its meaning within the Korean dance history. The research on Korean diaspora culture and their traditional dance activities is being done rarely by the Korean Dance Department. It could be said that research about the Goryeo people living in the CIS is practically nonexistent. Currently, the tradition of the former Soviet art group has been revived and continues its tradition. The succession of traditional dance culture plays an important role in instilling a sense of bond and shared identity with Korean people the same. In CIS, several Goryeo delegates cultivate young dancers, but they are inheriting traditional dances through cultural exchanges through culture with Korea. Korean dancers should be interested in them because CIS dancers Goreyo dancers are thirsty for continuous exchange with Korea, such as performances and workshops. The CIS Goryeo people underwent a catastrophic change of history in the past 150-year history of immigration to Russia, the Soviet Union, and the CIS. They have followed the Soviet policy for survival but lived with dual characteristics that does not forget the tradition of their origin. They are forming a distinctive culture. Their activities indicate the possibility of expanding the area of Korean culture and arts. The exchange with them will go beyond sharing the tradition of Korean people, and will form a traditional network that can promote Korean culture even in regions where there is no exchange with Korea through the Goryeo people spreading across Eurasia in transnational countries. I think that this will contribute to expansion of Korean dance. In the future, Korean dancers will have to embrace Korean diaspora dance culture, and at the same time, I hope that Korean dance culture will spread to the world.