This study examines the entire creative process of the dance work Dance Speaks for Me to articulate the choreographer’s stylistic approach and artistic philosophy. Using Practice-Based Research (PBR), the research analyzes the stages of conception, choreography, rehearsal, performance, and post-performance reflection. The findings reveal that dancers’ bodies function as active agents that generate narrative meaning through sensory experience. Sensory-based movement exploration facilitates the emergence of natural and organic movement qualities, extending choreography beyond formal composition toward philosophical and relational dimensions. This process identifies three core movement characteristics: immanence, narrativity, and resonance. The study further confirms that not only the final outcome but the creative process itself operates as a central choreographic principle. Consequently, the choreographer’s artistic philosophy and style are systematized around sensory awareness, while democratic communication between choreographer and dancers proved essential in fostering dancers’ growth as expressive subjects rather than passive performers.

The current study seeks to provide and examine a new value classification of community dance. Community dance, based on dance education, is an act of interacting with others, discovering oneself anew, and gaining confidence through physical movement. It also represents communication based on social common denominators and restoring of interactions that were cut off by the advancement of information and communication technologies. Community dance in Korea is being utilized in various ways: it is an activity that laypersons engage in to get pleasure, be healed, interact with other people, and learn new things. Community dance may be put into the four following categories. First, ‘community dance as performance’ focuses on producing outputs with a sense of ‘community’ being together. It generates new meaning as members of the general public take part in stage performances. In addition, it has attained artistic value by expressing the zeitgeist of different times through interactions with various generations. ‘Community dance as performance’ is distinct in that it has popularized community dance, bringing professional choreographers close to laypersons who dance. It has also given an enhanced sense of completeness with its orientation as performance. Second, ‘community-centered community dance’ has shared the cultural identity of the community through dance and re-produced different communities. As a dance centered around the community for the people of the community, it can discover unique features of the community and tell stories of the people of the community. Third, ‘community dance for unspecified groups of people’ is one that anyone can Abstract 한국 커뮤니티 댄스의 새로운 가치 분류를 위한 시론 211 participate in. It provides opportunities for people of different generations to interact with one another. This category includes various community dances that are hitherto defined differently, and brings together like-minded communities through dance. Fourth, ‘community dance as dance education’ is part of dance education, and provides a space for people to dance together. It helps people to express themselves better, gain self-confidence, think creatively, and enjoy cultures and arts.

The intent of this study is to explore what soma in dance is, how dancers can communization in dance, and what communication in dance is. This research will explore the contents of “Somatics”, which have been studied for soma in culture and dance research through a literature review. By doing so, I want to study what the soma is and how to communicate specifically in the dance. In addition, the research method is based on the experience of the direct soma of the dancer, which was also used as an auxiliary research method. This study is only one study exploring the way communication is done in soma dance. This study can be a small reference in terms of widening the horizon of communication rather than defining the problem of communication in all dance performances as one standard.

The study aims to explore the function and meaning of Korean community dance. To meet this end, the research was conducted based on interviews with choreographers who participated in community dances and related materials. As its theoretical orientation, this study adopted a phenomenological approach among qualitative research methodologies. Community dance is a process in which the participants are self-driven and understand themselves through a structure led by professional dancers, but it also creates a sense of community awareness and a positive atmosphere. The study also focused on in-depth interviews to explore the function and meaning of Korean community dance in order to ensure the validity of qualitative research. First, community dance cultivates self-awareness of community members through communication structure. Second, community dance provides the basis for discovering new choreography methodologies. Third, community dance enables the discovery of new possibilities of modern dance. Fourth, community dance promotes the re-recognition of the process of completion of works Fifth, community dance encourages the sharing of positive elements of dance. In conclusion, Korean community dance has a variety of functions and meanings. In order for community dance to continue, supports from various agencies, including the program operator and the Cultural Foundation, and the development of choreography methods, and diverse methods of communication with the public are needed.

This case study research aimed to analysis the dance program to heal the unstable emotions of teenagers who experience school violent. The dance program was held at the A Welfare Center in Seoul for 10 sessions, 100 minutes per week. The program has improved the participants' unstable emotions and negative self-image. Participants want to express their feelings in a healthy way and find the positivity inherent in them. And they tried to improve their social skills by improving self-expression. After finishing the program, participants recovered the violence, depression and low self-esteem caused by wounds to the body and mind. It is meaningful that it has a positive effect on healthy relationships by learning how to communicate with other friends.

This study aims to examine the aesthetic resonance principle of Korean dance by analyzing how the place of Korean dance in the Middle Ages was influenced by the effect of dance through the ‘ki (氣, energy)’ theory by philosopher Choi Han-gi (1803~1879). As a research method, records related to dance were selected from historical literature, and Choi Han-gi's books were used as main texts, and related discourses were referenced. The original texts of the old documents used online databases with major old documents such as the National History Compilation Committee database, and keywords were limited to ‘mu (巫, shaman)’, ‘mu (舞, dance)’, and ‘chum (춤, dance)’. The results of the study are as follows. First, Korean dance was organically adapted to the spacetime of traditional society. Second, it was confirmed that the space of life was entangled as a place of dance in the traditional society. Third, it was possible to aesthetically explain that the principle of resonance in a special space called “sai (사이, between)” among dance places in traditional society was in ‘communication’. The main keywords of this study ―placeness, resonance, singi (神氣, primal energy), communication― are concepts that share the meanings of resonance as the nature of dance. The keywords are expected to contribute a academic and practical direction for today's dance theory.