This study considers methods develop a ballet educator training program that can improve ballet education in South Korea, where technique-focused training leads to physical and mental injuries and lack of artistry. A training program model is developed for ballet educators based on the philosophy of somatic dance/movement education, which integrates dimensions of body, mind, and spirit. The framework of the program was formulated by exploring the educational goals and principles of ISMETA, as well as factors such as ‘knowledge’, ‘autonomy’, and ‘peer networks’, presented in the international survey on education, TALIS. Then, we compared and analyzed domestic and international ballet educator training programs to select essential elements based upon the aforementioned three aspects. We made detailed programs such as ‘somatic dance/movement theory, movement anatomy and physiological dynamics, movement analysis, somatic ballet teaching method, dance education theory, and developmental psychology’ for the knowledge factor, ‘reflective practice’ for the autonomy, and finally ‘pedagogic workshop’ for the peer networks.

We analyzed Taepyeongmu (Dance of Peace) from a somatic point of view to understand the dance’s movement principles, using Kim Kyeonghee’s “BRACED” principle (year of paper that used “BRACED”).’ Taepyeongmu is a dance composed with various rhythms and parts. Accordingly, there are lots of body movements and turns, where it is essential to ‘Breathe’ and ‘Align’, which require ‘Relax’ of the body and the mind as in the principle of ‘BRACED.’ Consequently, the inner and outer movement are well ‘Connected’ to perform the Queen’s ‘Dance’, ‘Expecting’ peace in the country.

Based on the ‘BRACED’ principle, it is evident that all of the six principles of somatic movement are inherent in this dance. By conducting this research, we hope to lay the foundation for studying the principles of somatic movement of other traditional dances.

This article examines the researcher’s own choreographic work, Reminiscence, which was performed at Ewha Womans University on June 7, 2018. Through this study, we hope to overcome the ephemerality of performing arts and describe dance works in a more analytical manner. By documenting the researcher’s own choreographic work, we can establish an individual’s choreographic philosophy, based on the individual’s understanding of the meaning and value of dance works. This analysis is based on a theory of perception proposed by Henry-Louis Bergson (1859-1941), who held that one could enlighten oneself through memory to lead a better life. Each part of the choreography corresponds to the core elements of Bergson’s theory, which allows us to establish a philosophy of choreography, as well as for the choreographer to speculate on the possibility of developing subsequent choreographies.

The purpose of this study is to better understand how Z-generation dance majors respond to different types of dance professors. We surveyed 252 graduates of higher education institutions using independent sample T-tests and one-way ANOVA. Then we analyzed the data to determine whether differences can be observed in a statistically significant way according to the general characteristics of respondents. There was a difference in preference for types of dance professors according to respondents’ age and major. According to our study, Z-generation dance major students prefer to receive education from professors with self-directed and democratic approaches to learning. Consequently, it was concluded that university education requires democratic changes in order for students to be able to participate in decision-making. The results of this study are expected to contribute to improving the effectiveness of dance education, as well as directing future higher education.

The aim of this study is to examine how climacteric women's Soma has changed in response to somatic movement training. The study was conducted for a total of 10 months from March to December 2021, and participants were four climacteric women aged 50-56 registered in a fitness club. After conducting twelve somatic movement training sessions, in-body measurement, Kupperman index, and Telomere Assessmant were performed. The study first found that all four participants' menopausal symptoms (such as fatigue, insomnia, arthralgia, and depression) improved. In the telomere trajectory analysis, participants' physical activity duration increased, their quality of sleep improved, and their level of social support increased. The study participants reported, through somatic data, that the somatic movement training improved their body's awareness and control, encouraged emotional healing, and strengthened their social connections. Both expressive and functional movements were improved by somatic movement training.

This study explored the case of creating and performing “Suncheon Bird Flower Dance: Hooded Crane Meets Flower” by adapting the story of a hooded crane in Suncheon. The researchers obtained the following results by collecting and qualitatively analyzing choreography notes, photos, videos, memos, dialogues and performance pamphlets from August to November 2021. First, from the point of view of ecological art, we carried out choreography work for flower dance and hooded crane gestures based on sympathetic movements. Second, it revealed the convergent aspects of performance characteristics especially by using the photos of the hooded cranes in accordance with the live music performance for the scenery of Suncheon Bay and adopting a tea ceremony performance. Third, to implement the proposed creative crane dance, this case showed the transformation process of traditional Hakyeonhwadaemu in the scenes where the hooded crane meets and hangs out with a flower girl (woman) who is blooming and becoming a lotus flower.