This study aims to explore the ecosystem of artists that has undergone change since Covid-19. Through the lenses of ‘common’ and ‘individual,’ and the methods of artistic practice of labor in creation, this paper propose the concepts of post-choreography. Since the 1990s, the practice of choreography has been reimagined based on the issues surrounding the interdependency of the individual and the common, vulnerable subjects, networks and collaboration, which were debated during the post-Cold War era. I discuss post-choreography from the perspectives of ecology, solidarity, and ethics and examine an artistic project titled “Entanglement Residency.” From a socio-ecological perspective, the study argues that post-choreography serves as a tool to restore a community of common sense and affect.

This study investigates the historical roots of the "Toad Dance" that emerged in Dongnae, Busan and documents its music, costumes, and major movements. From the perspective of resonance aesthetics, this study focuses on the Toad Dance performed by Kim, Hee-sang (1924-1995) at the Small Theater of the National Theater of Korea on June 22, 1984. Based on data collected from an interview with Kim, Onkyeong (1938-), the study reveals that the main performance space for the Toad Dance was Gibang (an indoor entertainment space). Kim also disclosed that the Toad Dance was performed by a male-female couple in the Gibang, but by one person in the outdoor space. Through analysis of newspaper articles on multiple performances of the Toad Dance from 1984-1998, as well as video and archival sources of the Toad dances documented by Park, Jinju (1936-1986), the study articulates the following characteristics of the Toad Dance: 1) The dance movements of the Toad Dance are generated based on improvisation; 2) The performance spaces for the Toad Dance include both outdoor and indoor areas; and 3) The Toad Dance symbolizes 'play' and 'origin', represents unique mimic costumes, and utilizes the breathing method based on the Dongnae Deotbaegi rhythm.

The purpose of this paper is to explore the relationship between Bak Geum-seul's "Chumdongjak" movement principles and Somatics. It is also to examine the movement principles of Bak Geum-seul’s "Chumdongjak" in relation to the theory of the Five-Elements: Wood, Fire, Earth, Metal, and Water. Through the embodied experience in Bak Geum-seul's basic dance moves, the results of the study are as follows: First, one of Bak Geum-seul's movement principles is to enable a dancer to recognize and be aware of their body, which is similar to a principle of somatics that focuses on body awareness. Second, Bak Geum-seul's ‘upper body’ movements can be represented as Wood and Fire. Bak Geum-seul’s ‘middle body’ movements can be described as Earth while her ‘lower body’ movements can be symbolized as Metal and Water according to the theory of the Five Elements. The study suggests what happens inside of our bodies can be signaled through emotions. I hope that this study, which emphasizes the importance of expressing internal emotions through dance, may promote a healthy and harmonious lifestyle.

The purpose of this study is to analyze the dance structures of Seoul Intangible Cultural Property Hallyangmu, performed by different successors of the dance. The study utilizes the literature research method to examine the origins and the structural characteristics of Hallyangmu by the successors. The research incorporated the personalities and viewpoints of each successor of this dance. The results of the study have been derived from the analysis of the following four aspects: 1) the characteristics of each role played in the dance based on the narrative, 2) the names of each role’s dance movements, 3) the costumes and props used in the dance, and 4) the rhythm structure in music used for the dance. I hope that this study will contribute to re-recognizing the value of Hallyangmu as a traditional dance and further develop Korean traditional dance.

The purpose of this study is to discuss the role and tasks of the Korean International Accessible Dance Festival, which has contributed to the artistic development of people with disabilities since its launch in 2016. The study explores the meaning and role of the Korean International Accessible Dance Festival as follows: 1) the promotion of basic cultural rights of people with disabilities, 2) the pivotal role of dance for people with disabilities, 3) the establishment of stable performance production conditions, 4) the promotion of social awareness and interest in dance for people with disabilities, and 5) the connection of people with disabilities at home and abroad. Tasks to promote the professional development of dance for people with disabilitiesinclude the development of representative content, training and support for people with disabilities, and the development of related educational programs. This study can act as a cornerstone for the progress of discussions on dance for people with disabilities.

The purpose of this study is to examine the aesthetics inherent in Lee Eun-joo’s Sanjo dance, Geumseonmu. The study utilizes literature research and participatory observation methods, including in-depth interviews, oral records, and embodiment. The results of this study are as follows, First, Geumseonmu is a work that combines mind and body, which is a typical characteristic of Sanjo dance. Second, it has inherent feminist tendencies. Third, it is a traditional dance that makes good use of Korean elements. Fourth, it stands out for its artistry through the combination of various art forms. In metaphorical terms, Lee Eun-joo's Sanjo dance, Geumseonmu can be interpreted as a painting that emphasizes lines and empty space, a technique found in traditional Asian paintings. Significantly, her Sanjo dance expresses the factual aspects of external objects and the inner beauty of eternal life through dance.

This study examines sixteen qualitative studies on dance/movement therapy(DMT), selected from multiple peer-reviewed Korean academic journals to identify current trends in the field. The study found that only one qualitative research-based study was conducted in 2008, and no qualitative research-based studies were conducted from 2009-2015. However, since 2016, more qualitative research methods, such as case study, phenomenological research, consensual qualitative research, and general qualitative research, have been incorporated into DMT-related articles. The data collected for these studies have been mainly based on interviews, which are then verified by the interviewees and their peers for reliability. Recently, more researchers have undergone IRB review procedures following ethical norms before conducting their studies. Participants of the research have included adults, adolescents, and children who were invited to about 10 to 15 sessions with 50-180 minutes for each session. Overall, through the analysis of the sixteen selected qualitative studies, this paper has categorized the ways in which DMT has impacted participants into seven areas: emotional, personal, physical, social, educational, cognitive, and spiritual.