This study discusses Merce Cunningham’s creation of (1976) which is composed for video-film dance. The choreography of reveals exact methods used for video-film dances in early 1970s. The process of creating video dance were referred to get the ideas how the choreographer understands and approaches to the scenes in the camera using cuts and flowing of dance. This study intends to utilize the compositional ideas of as a spacial design for video dance. The improvement of technique could determine the quality of dance and dancers and there are aesthetic influences from the Cunningham technique. The aesthetics of is found in the form, structure and its unity, that is intensified by expansion of spacial design and the relationship of time and dynamics in continuity. By placing various sequences of movement phrases on stage simultaneously, he found aesthetic elements from spacial design. In video film of , the camera decides where to look by following the dancers without inferring the flowing of the movement sequences in space. Fluidity is the aesthetic quality that the video of is intended in principal. Besides we find the phenomenal, the formal in aesthetic elements of the dance.

This paper was written from the perspective of non-reductive materialism to interpret choreographic changes and medium replacement in Korean traditional dance. Non-reductive materialism is a theory that all phenomena are mentally created from substances and that formed mental phenomena do not return to the substances from which they came. This principle was the matrix Danto used to explain the ontological status of artwork. Additionally, Margolis borrowed Strawson’s concept of person and applied it to assess art analogically. This same concept can be applied to explain dance; dance uses movement as a medium, which in turn uses humans as a medium, making humans the embodiment of a physical substance—the body. The physical substance, then, is the property of the medium, embodying the dance performance. Embodied dance contains the physical properties of the medium and intentional properties, such as mental phenomena, which do not belong to a physical property. Therefore, the relationship between medium, movement, and dance is non-reductive, and each is indivisibly soluble with the next. From this point of view, each dance performance produced from the same medium is independent and unique. Successive changes in Korean traditional dance are replacements of the fundamental medium. Successive dancers can obtain similarities to previous performances in their own dance by training with a former dancer. During training, breathing is a core principle of movement and an element that considerably influences dancers’ similarities. This process is called transmission. As a result, long-term similarity training is a primary factor when choosing successive dancers because they share the mental of traditional dances and choreography with their successors.

This study seeks to compare expression media between Kim Baek-bong’s Korean fan dance, a traditional dance designated as an intangible cultural asset of Korea and Kagyadifu (かぎやで風), a fan dance of Okinawa in Japan. The study examines hand motions of the two traditional dances. The author used an index of KAMAKURA as an external analytical method, while focusing on interviews and oral records to understand inherent characteristics. The ethnic identities of the expression media were identified as follows. First, fan functioned commonly by physical awareness and recognition of the body. The fans of the two countries did not directly express objects such as letters, but tried to describe the shape of the entire object as an extended part of the body. Second, the fans of Korea and Japan were differentiated as abstract technique in the process where sensual wave was reflected in the body. Ryukyu dance did not express the lyrics in a graphical or realistic way as in the case of sign language. The expression of fans was not verbal. Fans made a symbolic display of yearning that the region - the island - had toward outside world. In Korea, more than 30% of group dance figuratively reveals intention of original authors or nature. This is an indication that Korea's new art dance was affected by modern dance of the modern times. Third, fans had multidimensional contexts in showing internal feelings. Korean dance depicts nature or intention of authors, and express inner feelings through various rhythms. Ryukyu dance expresses relations between a fan and a dancer abstractly by containing a joyful feeling of the performer, rather than venting the feelings. The comparison of intangible cultural properties of both countries could reveal that they harnessed the same expression media but showed difference in their unique national emotion.

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.

This study focuses on the sociocultural and artistical interrelations between the "Korean Dance" and two of the most popular non-textual forms of mass media - commercial sound recordings (gramophone records) and films (feature films, newsreels, documentaries) - between the 1930s and 1960s. First, this study focuses on how gramophone records were employed through the Korean dance recitals during this period, as well as on what type of music was used in these recitals. Second, this paper examines the films documenting "Korean Dance" shot and produced during the time period in question, and discusses how these films were produced and how it has impacted establishing the "Korean Dance" through its mass distribution. By doing so, this paper attempts to provide a preliminary suggestion on how the "Korean Dance" has made its transitions over time, as well as an opportunity to historically understand the actual manifestation of "Korean dance" during its earlier days of a modern form of performing arts. It can be strongly argued that a strong sense of a historical parallel is revealed between the historic development of the Korean Dance in the early 20th century Korea and the development of the notion of Korean national culture, as both came into their modern manifestation through a series of constant interactions between Korean premodern cultures and the modern foreign cultures.