This study examines Komagaku , one of the pieces of Japanese court music and dance, focusing its origin. Uniquely in , the dancer wears a costume with rat patterns. The examination of the relationship between the Korean Peninsula and focusing on the rat on the costume of , shows that the country showing the most records of rats as spiritual beings is Silla. Thus, in order to find any relationship between the Korean Peninsula and using the image of rat, it may be more efficient to examine Silla than Goguryeo or Baekje. In addition, uses Imha(臨河), Imga(林歌), or Imga(林哥) for its mark. Among them, Imha(臨河) has the same Chinese characters as ‘Imhasa(臨河寺)’ of Silla. Buddhism utilizes music and dance to serve Bul(佛), Beop(法), and Seung(僧) and promulgate Buddhist doctrines. Here, 『Taigenshou(体源抄)』 has records showing the relationship between and Buddhism. In addition, rats are not irrelevant to Buddhism, also appearing in 『Jataka(本生譚)』. If is closely related with Buddhism, then its relationship with Imhasa can be meaningful, as they use the same marks. Looking at the remains of Imhasa such as brick pagodas, its origin traces back to Silla Dynasty. Considering the relationship between and Imhasa, it is highly possible that originates from Silla among the three countries of the Korean Peninsula.

The purpose of this study is to explore the creative scene of youth dance artists by revealing the meaning of the audience to them based on their experience of the creative support project of youth dance artists. In order to do so, in-depth interviews were conducted with three youth dance artists who were beneficiaries of the program and the transcriptions of the interviews were analyzed qualitatively by constant comparison method. From the results, I was able to derive the significance of the following three categories. First, starting from the conception phase, the youth dance artists try to instill in their performance a value that is up to par with the high expectations of the audience. Second, they think that the critiques by critics and other professionals in the field are limited and propose the need to give more weight to the reactions of the lay audience as an evaluation factor. Moreover, they suggest the need to diversify the evaluation committee and review committee members in order to encourage the inflow of new dance artists. Third, the youth dance artists point out the difficulty of their activities reaching the critics as well as the media and point to the audience as a remedy to the issue as well as a driving force to construct new field of dance. First, as an element of support in the program, I propose to strengthen the support in the domain of criticism. There is also a need to improve the program’s current process of evaluation and review to emulate a structure in which currently active artists, professionals of various fields, and the lay audience can participate. Finally, I propose to strengthen the role of the country as a facilitator that encourages the support of its citizens and emphasizes the role of the market.

Hwangchangmu (黃昌舞) is a type of sword dance, which is based on a legend about Hwangchang Rang (黃昌郞), a member of the Silla Dynasty. The legend states that Hwangchang Rang (黃昌郞) bravely went to Baekje to slay the king with a sword. The dance is performed in commemoration of Hwangchang (黃昌 or 黃倡), who fought to the death for his country, Silla. During the Joseon Dynasty, Hwangchangmu was dance indigenous to the Gyeongju region. In the late Joseon period, Park Jong (朴琮 1735-1793) stated that Hwangchangmu had been passed down from the Silla Dynasty for nearly 1,000 years and people at that time thought that it was the best dance in the East. The dance, which had been performed at Gyeongju Gyobang during the Joseon Dynasty, was suspended during the period of Japanese colonization. The objective of this research is to establish a basic theoretical background that can be used to restore Hwangchangmu in a contemporary context. Particularly, it is part of an effort to restore Hwangchangmu, which is described as one of the ten dances from the Silla Dynasty (新羅十舞) in Donggyeongyurok (東京遊錄) written by Park Jong. Since its sentences are brief and the contents are rough, related materials are collected and analyzed from the Akbusi (樂府詩), which is a literary anthology that was written by many literary figures and originated during the Joseon Dynasty. The research suggests that the past dance culture of Gyeongju Gyobang should be examined. Also, the study of Hwangchangmu is expected to contribute to a newly illuminating and understanding of native art and culture in provincial regions.

This paper aims to find how to utilize the dance of Silla era by figuring out what are the characteristics of dance are based on Silla people’s life and how it had been used historically. The characteristics of dance based on Silla people’s life are classified as those of amateur and of expert. Amateurs danced in various fields of life. There was dancing entertainment during community labor which was led by women. A woman monk comported life’s worries which were not able to be avoided even by Buddhist priest by making humorous dances. Wonhyo announced the name of Buddha by Muaemu. Silla nobles maximized their pleasure in parties by dancing entertainment and made drinking parties fun by dancing penalty. A king of Silla danced and sang a song when life’s worries resolved. Hwarang displayed patriotism by a sword dance. There were three characteristics in expert’s dance. First, Silla set a high value on moderation and self-control by aiming for dance joyful but not dissipated and sad but not grievous. Second, people considered pleasure and enjoyment as a root of dance creation. Third, dance took a key role in performing arts of Silla. Silla dance was used in history of Goryeo and Joseon dynasty. Muaemu and Cheoyoungmu were consistently utilized in dance by amateurs and experts. Cheoyoungmu which was utilized by expert’s dance in Chosun dynasty was performed in events of royal family, ceremony, events in local government offices, and private rituals. Hwangchangnangmu was consistently utilized in Gyeongsang Provinces as considered as Silla dance. Currently Silla dance can be utilized in Gyeongju in varying purposes. It is expected to continue Silla people’s life dance in various ways even in the present times.

DUTBEKI is a dance which has been most widely performed by public folks in many parts of KYUNGSANGDO. ULSAN is within the cultural sphere of KYUNGSANGDO. This study intends to analyze the motion forms of a DUTBEKI which have been performed in ULSAN district through an aesthetic approach. This DUTBEKI has been transcended from the past according to the customs of public folks. It was diversely grafted into village shrine rituals and seasonal customs derived from agriculture. As to the form of dancing, it could only be seen as a formless primitive gesture, in the process of dancing in the excess of their mirths. But it has an implicit sense of ritual. It also has politeness and stylishness. So, whenever this dancing was performed in a feast, the loud noise died away and village folks held their breath saying only 'good!' as a cheering word. Needless to say, everybody danced his own dance boasting of his own stylishness in a round circle called 'NANJANG'. The researcher has taken part in these village feasts of ULSAN district and enjoyed this dancing together with village folks from 1981 to 2018. As to the method of analysis, on the basis of this field experience and different documents, the researcher identified and sheded the light on the unique traits of flow and repetitive common motions in this dance from aesthetical standpoints. This approach will help to establish ULSAN DUTBEKI as a cultural asset of ULSAN district and give a basis for preservation and transmission of it.

This is a research of Choi, Seung Hee dance, tour of USA, Europe, and Latin America. The tour of USA research covers the first USA performance initiated in San Francisco 1938 and the second one in 1939 which had purpose of avoiding the European War. The tour of Europe research covers from January 1939 in Paris right after the first tour of USA to the performance in Hague, Netherlands. The tour of Latin American research covers from the performance in Brazil in 1940 to the performance in Mexico after the second tour of USA to avoid the Second World War. The activities in the Communist bloc in Europe after Choi, Seung Hee's defection to North Korea have been excepted from the tour of Europe research. According to Professor Jeong, Byung Ho, Choi, Seung Hee created more than 310 works throughout her life. And it is shown in her own records of conversation that she had over 600 dance work performances during the world tour. Also, Professor Kim, Ho Yeon says that there are more than 600 news articles in The Chosun Daily News, Dong-A Daily News, Maeil Shinbo during the period of Japanese colonial rule. Currently, over 100 studies of Choi, Seung Hee can be found as preceding results. Among these works, performances, recordings, and researches, lots of errors appear when translating expressions of the countries where the performance took place to our expression and when interpreting those translated materials as primary source and analyzing with our method which causes so much confusion to the research when quoting them as well. The motive of this research is to minimize those confusions. Along the process, by translating primary sources from around the world, the unification of expressions in our terminology which Choi, Seung Hee originally used was conducted as well. This research may have some omitted areas since only confirmed information in primary sources was researched. Choi, Seung Hee presented steadily during the world tour and the materials for the creation were about Korea and legends of Japan. She stated in her performance fliers that she is 'Korean Dancer' and also put her Japanese name 'Sai Shoki'. This can be understood as reflection of difficulty of the era. The fliers contain the title, music, and, in most of the printouts, the warning for the copyrights. This can be the pride of her creation and the result of an artist's rights practice. As a result, proposing the pamphlets and evaluation data of each performances of USA tour and proposing the actual repertory and contents of performances by discovering Europe tour pamphlets (Paris and Germany) are considered to be meaningful works in the history of Choi, Seung Hee research.

Hallyangmu is one of folk dances which shows social phenomena and discourses in the tradition process well. In the early days of development, it was a type of folk play that satirizes the society in each region, but as the age changed, it developed into a theater dance. Today, it is performed on stage as a masterpiece of male dancing by adding masculine fashion, excitement and acting. The important point in this systematic flow is that it has been refined as it enters the performing arts and has been handed down with its content and structure. This study focuses on the structuring of works that appear in it's stage-making process. Especially, The style of Kang Sun-young of Han Seong-jun's Hallyangmu which performed for the first time as a theater dance, conducts research focusing on the systematic aspects and performance aesthetics of Hallyangmu. It distinguished from Madang Noli and Gisaeng dance. The characters are four and the narrative structure is simplified, so there is not much movement, but the story progresses in a calm and calm manner while concentrating on the drama. The contents also show indirectly the space elements of the stage form by the character of the comic, humorous, satirical, and the phonetic movements focusing on the relationship among the characters.