This study aims at reevaluating the artistic realism of Choi Seung-hee’s works not only in her full-length dramatic dances after her defection to North Korea but also in her early modern dances with the theme of social participation. The kind of realism that she had pioneered in dance field in 1930 continued into her proletarian dance but discontinued between 1933-1945 due to severe criticism from home and abroad. This study ascribes the undervaluation of her activities in this period to the male mainstream perspective of the society and the decline of proletarian literature. f After her defection to North Korea, Choi’s proletarian dance developed into full-length dramatic dance, which can be referred to as the stage of her completion of socialist realism. The full-length dramatic dance has great meaning in the Korean dance history in that: first, it elevated “dance as art” to a higher level; second, it held a feminist perspective; and third, it achieved a high degree of completion in terms of choreography. Henceforth, Choi Seung-hee’s activities as a pioneering realist dancer in Korea deserves reevaluation in the Korean dance history.

One modern dancer at the forefront of the art is SongBeom. Numerous studies have considered his life and work activities. However, an error exists, citing incorrect records. This research reconsiders the records of newspaper news organizations working on the agencies. SongBeom was established in the National Dance Company and played a major role in the 1962 writing style. Meanwhile, he demonstrated creative experimentation in Korean dance, helping to create a new framework. Paper records show that he entered the world of dance as an opportunity during a decisive time. He demonstrated endless enthusiasm for show. Not only can we check his newspaper records to clarify the title and year, we now can also consider his work and identify the notations. Performance on a performance advertising, unlike these days. Newspaper articles still contained some errors, but data are sound in terms of the work years. Even though he gross change in his microscopic, even if we approach Chuminsaeng can check the newspaper. It's a dance thing of a time of his activities through to become an opportunity to read the flow.

The research on "the data status and data use case of Simso Kim cheon-heung" started from the importance that the Kim Cheon-Heung Collection can be seen not only as an individual archive, but also as a manual of an extended artistic record and utilization method of performing arts. This study has a second purpose of sharing information to be a mediator of researches on Kim Cheonheung by grasping the current status of the materials and the cases that have been utilized. As a research method, I focus on the activities of the Korea Dance Resource Center, which I have participated in the past, and analyze event materials (event plan, programs, materials, books, etc.) Related site search. In addition, I analyze the case of reconstruction of Cheoyongrang. I expect that this study could be seen as a reference in the creation or reproduction of archiving.

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.