In this study, we investigated the characteristics and methods of dance ekphrastic. We take a look at the concept of ekphrasis and then looked into the notion of ekphrasis in dance. Ekphrastic dance takes into consideration the historical, political and cultural context of the piece whilst interpreting its content. Ekphrasis accompanies dance studies, making intermediality an inherent part of the discipline. There have been few studies on ekphrastic dance, or the art of transforming dance works into text. This study uses methodology from literature studies by exploring books, music, digital ekphrasis. Such a study can give something as fleeting as a dance movement theoretical and historical weight. By transforming dance into words, we hope this study will provide new perspectives and extend the concept of dance research.

Purpose of this study is to determine idealistic boundary of aesthetics ultimately pursued by investigation of aesthetic contemplative norm defined by traditional philosophical thought inherent in the Korean Dance. The aesthetic consciousness and mental boundary formed from aesthetic contemplative norm of the Korean Dance has created the beauty of harmony, personality, and nature. This includes the 'life characteristics' precious as a human being, 'individuality' to respect an individual, and 'wholeness' that seeks harmony of an individual and the whole. The idealistic boundary of aesthetics inside the beauty with such characteristics can be summarized as follows; First, 'Spirit-energy (Ijeonghapiljeok) boundary of aesthetics' means harmonious relationships between reason and emotion. Namely, it aims harmony and unification between rational boundary and emotional boundary with artistic spirit to follow profound harmony of nature and to pursue new things. Second, 'Life-oriented boundary of aesthetics' includes lively appearance of substantive nature in a mind. It reveals that the appearance of nature itself is the origin of beauty and that 'life characteristics' that being alive itself is beautiful are true beauty. Third, 'Transcendent boundary of aesthetics' contains spirit of the heaven. United aesthetics boundary is to realize the order of nature and to pursue harmony of the boundary between nature Taoism and dance spirit. Surreal time and space world in freewheeling state without any confinement in dance is the best idealistic aesthetics boundary crossing over boundary between human and the god, boundary between reality and unreality, and boundary between labor and play through freedom of deviation. As discussed above, 'Korean Dance's aesthetic contemplative norm and aesthetics boundary' contributes a clue to aesthetically determine the original form of Korean Dance theory and the development. Aesthetic consciousness and aesthetic dignity of a work, and 'idealistic aesthetics boundary' will identify aesthetic categories to determine aesthetic characteristics inherent in the Korean Dance.

Hallyangmu is one of folk dances, in which the original form and archetype of Korean dance have been well inherited and recorded. Since its original forms were recorded in Gyobang Gayo (1865) written by Jeong Hyeon-seok, Hallyangmu has been inherited in various forms. It was passed down by gisaeng in the enlightenment era and performed as theater dance by Han Seong-jun. Notably, it is a dance drama in which narrative structure has been well recorded. Hallyangmu, has been inherited mainly in Gyeonggi region and Yeongnam region. Hallyangmu danced by Gang Seon-yeong and Jang Hong-sim, who followed Han Seong-jun’s style, was designated as a cultural asset of Seoul City in 2014 and has been most standardized in terms of character composition and narrative structure. Hallyangmu in Han Seong-jun’s style largely consists of four sequences: story of a playboy and a maiden;of a Buddhist monk and a maiden;of a playboy and a female barkeeper; and the final sequence for resolution They make.a story with the combination of minimized unit structure and seek an open space in which the story can be expressed in movements. The characters in the dance are a playboy, a maiden, a Buddhist monk (dark faced Buddhist monk) and a female barkeeper. When the playboy is seen as a subject, the maiden as an object, and the monk as an opponent, the dance is expressed in the triangle contrast structure in which two male characters have conflicts to win love. However, the structure centers on the maiden without direct conflicts between the Buddhist monk and the playboy, and personalities and characters come to the surface through concepts of behaviors.

The purpose of this study is to analyze papers on the dance motivations of dance majors in Korea and figure out the research trends in the area to establish a foundation for education for the dance motivations of dance majors and propose future research direction. For these purposes, the investigator selected total 64 papers published in Koreanstudies Information Service System, DBpia, Scholar of Kyobo Books, and e-Article from 2001 to December 2017. They were analyzed in terms of the academic journal of each year, subject, methodology, analysis of methodology, and research topic according to different analysis methods. The analysis results led to the following conclusions: first, there was a multi-angle distribution of the papers across 17 journals in the nation. As for research trends by the year, while there a single research in 2002, the research activities gradually had been expanded from 2006 to 2017. Second, the highest percentage of subjects among the papers were college students and graduate students majoring in dance. Third, as for methodology, quantitative researches were the most. Fourth, correlational research was adopted in most quantitative researches. Qualitative methods were also adopted in researches, but these researches were relatively meager. There was no literature study on dance motivations. Fifth, as for research trends by the research topic, researches on self-determination and regulation, an aspect of motivation, recorded the highest percentage. In short, researchers will need to employ a variety of methodologies and designs to prevent their findings biased in a direction in the area of dance motivations. Follow-up study will especially need to develop measuring instruments fit for the field of dance to investigate professional relations among variables related to dance motivations.

Giselle, along with Swan Lake, is one of the most widely-loved and frequently-performed classic piece of ballet. The first full-act premiere of Giselle in Korea was performed in December 10th of 1975 as the 17th period performance of the Korean National Ballet. Giselle, often considered to be an indispensable part of the repertoire in most professional ballet companies, has been said to be one of the most important pieces of classical ballet throughout the entire ballet history. The premiere performance of Giselle was a historic event which provided a steppingstone for the Korean ballet company to grow further into the next level. In this study, we aimed to ascertain historical truth about the first full-act premiere of Giselle in Korea and to draw historical implication. As research strategies, we collected and analyzed historical literature materials as well as conducted interviews with important figures. Our historical investigation indicated that the premiere of Giselle of 1975 triggered a significant leap toward a next level of performing art in general, not only of Korean ballet. Another important value could be found from its being a challenging attempt under the worst of conditions notwithstanding. In a similar vein, the premiere of Giselle had a particular significance due to its being the first independently performed full-act premiere without any help from outside the country. The first full-act premiere of Giselle was made possible due to the passionate devotion and inspiration of a few major figures

In the 20th century, Bauhaus influenced the arts as a whole by its experimentation and originality. Its activities have been related to the expressionism and abstractism in dance in conjunction with the German modern dance era, and German modern dance has also developed through intercultural exchange with American modern dance. Therefore, it is necessary to study Bauhaus' art world, concept, and its effects on the actual dance arts. Also, I aim to find out what the overall artistic tendency leads to today' s contemporary dance. As a result, we examined the influence of the overall artistic tendencies of the Bauhaus figures such as Walter Gropius, Vasily Kandinsky, Oscar Schlemmer, and Moholy Naji, on dance, which Bauhaus pursued as a theater has led to the expansion of time and space. In addition, not only Bauhaus is a simple mechanism but also integrated education through various aspects such as architecture, crafts, theater, dance, and stage art.

The study aims to explore the function and meaning of Korean community dance. To meet this end, the research was conducted based on interviews with choreographers who participated in community dances and related materials. As its theoretical orientation, this study adopted a phenomenological approach among qualitative research methodologies. Community dance is a process in which the participants are self-driven and understand themselves through a structure led by professional dancers, but it also creates a sense of community awareness and a positive atmosphere. The study also focused on in-depth interviews to explore the function and meaning of Korean community dance in order to ensure the validity of qualitative research. First, community dance cultivates self-awareness of community members through communication structure. Second, community dance provides the basis for discovering new choreography methodologies. Third, community dance enables the discovery of new possibilities of modern dance. Fourth, community dance promotes the re-recognition of the process of completion of works Fifth, community dance encourages the sharing of positive elements of dance. In conclusion, Korean community dance has a variety of functions and meanings. In order for community dance to continue, supports from various agencies, including the program operator and the Cultural Foundation, and the development of choreography methods, and diverse methods of communication with the public are needed.