This study aims to obtain objective reliability for the criteria for the effective use of visual media in dance creative works, derived by the researcher through prior research on “A Study on the Utilization Effects of Visual Media in Dance Creative Works.” To achieve this, the study analyzes four contemporary Korean dance creative works that utilize visual media, validating the validity of the criteria for effectiveness. Accordingly, the research allows the choreographer, who is also the creator of the works, to apply thr criteria directly, enabling analysis of the visual effects based on choreographic intent.

This study examines the role and relationship of moving image among various art genres collaborating on dance performances. Six works by the Buripuri Dance Company, a private organization from 2004 to 2015, and 12 works by the Gangwon Provincial Dance Company, a professional organization, from 2017 to 2022, were analyzed 41 moving image clips were used in 18 dance performances. In this study, we collect and screen capture shots of 41 moving image clips out of 18 dance performace. We presented 12 expression methods that can distinguish the purpose and use cases of moving images from the perspective of stages, dancers, and audiences based on the contents commonly presented in six previous studies for work analysis. The 12 expression methods can distinguish the purpose and characteristics of the moving images for the dance performance. As a result, the most important reference point in the relationship between dance performances and Moving Images revealed in this study is the choreographer's intention. In addition, close collaboration between choreographers and video designers can not only improve the work's workability but also increase the understanding and immersion of the work from the audience's view. Therefore, this study is a records 20 years of choreographers and Moving image designers to create dance performances with high workmanship.

The purpose of this study is to analyze how 'inner regeneration', the subject of the researcher's work ｢Full Bloom｣, in which the existential identity of human beings is reborn, is expressed. Using literature research and practice-based research methods, the study focuses on analyzing how the theme of the work is visualized through movements. In response to the death of the researcher’s former teacher, the work ｢Full Bloom｣was created. The work has a future-oriented story that paradoxically emphasizes the feeling of ‘being alive’in the present moment, the privilege that only human beings can have. As a result of this study, first, based on the researcher’s actual experience and“Sanogugut,”the theme of the work that combines practice and theory was extracted. Second, a movement technique unique to this work was created to convey the theme. Third, a unified context of the theme was presented with a directing technique that embraces the consensus of each art component. This study presents a choreographic work that delivers the message of an internal crisis that anyone can experience. The study is important to show that choreography can serve as a medium to express one’s inner self and existential identity as an artistic value.

This study examines Susan Leigh Foster's methodology of historiography and explores its significance, which was introduced to Korea in the early 2000s. Even though her theory is rooted in post-structuralist thinking, no research has been conducted on its philosophical implications. Foster emphasizes the methodology of historiography, but there are few examples of its actual application in dance history. This researcher tries to understand the logic underlying her theory of historiography by analyzing the philosophical concepts contained in Foster's Choreographing History. We examined how Foster incorporated the main concepts and characteristics of post-structuralist thinking into her historiography, and in what philosophical context her concept of the body emerged. The analysis of Choreographing History illustrates how the theories of humanities can be integrated into dance research to develop a new discourse. Moreover, various practical studies can be conducted based on her theory, which mainly focuses on methodologies. Foster's new body concept is also a very interesting topic in dance studies. Practicing bodies with agency can greatly expand their horizons and possibilities and can be a rich source of dance research. This study is intended to lay the foundation for future research in this area.

This paper examines the entire process of creating and performing the author's dance piece The Void Space Between with a them of ‘spatial distance’, which was performed during the period of social distancing caused by COVID-19 in early 2020. This study analyzes the process of mutual communication based on human perception of distance, which is an invisible area, by applying practical research methodology to dance works that deal with social issues.

Study findings contribute to understanding the problem of human spatial distance that will persist even in the post-COVID-19 era. As we move towards a global transition following COVID-19, it is important for us to reflect on the essential relationship between humans through the lens of space distancing. In addition, it is significant to note that the discussion of spatial distancing has been performed and studied as a form of dance. This study will provide follow-up choreographers with a small indication of how to wisely prepare for the post-corona era by thinking about life and art in an integral way.

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.

This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters — virtual theater, performance theater, and sound theater were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

Recently, circumstances for dance creation are changed, so choreographers choreograph in various methods. For example, employee choreographer, guest choreographer, joint choreographer, assistant choreographer, repertory choreographer, musical choreographer, collaboration choreographer. The purpose of this study is to examine, based on Korean Copyright Law and precedents of Korean court, who owns the copyright in these various choreographic participation methods and the effect of copyright ownership. As a result, this study concludes as follow: First, in case of employee choreographer, when choreography was done as part of his job under employer's planning, a work was played in the name of employer and as long as they have no other set in a contract or employees' rules, employer has a copyright. If not, employee has a copyright. Second, in case of guest choreographer, he or she has a copyright. If client and choreographer have agreed to transfer copyright to client by the contract, only author's property rights are transferred to client and author's moral rights are left to choreographer. Third, in case of joint choreographer, when several choreographers created a work jointly, and each contribution part is indivisibly united, so it is not available separately, everyone have copyright. But when each contribution part is available separately, each choreographer has copyright to it. Fourth, in case of assistant choreographer, only when he or she created really to some degree, he or she has copyright with choreographer. Fifth, in case of repertory choreographer, when he or she changes original work enough to be accepted as new work by social norm and his or her work is actually similar original work, he or she has secondary copyright only to the new elements of the derivative work. Sixth, in case of musical, when choreographer creates dance part, he or she has copyright alone to it. Seventh, in case of collaboration, artists of different genres can't generally have copyright to choreography, however, when a fusional work was created jointly, everyone has joint copyright.

This thesis presents an interpretation of Korean musical history based on an analysis of the choreography of each era. The development of Korean musical theatre can be divided into the following three ages. In the antecedent stage (1930s–1950s), the first musical production were like operas, but these were very different from Western musical theater. Korean traditional dance also remained popular. The dance themes focused on politics or parodied current events. The famous choreographers in this era were Kim Minja and Jang Chuhwa. In the development stage (1960s–1980s), Western influence on Korean musical theatre was pronounced. Commercial efforts were made to develop a music industry. Spectacular shows were produced, and these represented an attempt to target global markets. The famous choreographers in this era included Kim Bekbong, Lim Sungnam, Choi Hyun, and Bek Sungku. The golden age (1990s–2010s) brought dramatic change to Korean musical theater. While the original Korean musicals had been established as the basic form of musical theatre, Western musicals became a major branch in the Korean music industry. Each branch was a thriving institution, artistically and commercially, and each had its own place and purpose. The famous choreographers in this era included Han Ikpung and Seo Byungku. Korean musical theater has been a part of the dramatic presentations of the times. Due to the emergence of modern Western musical theater, many structural elements changed, and choreography in musical theater became an important part of productions.

The purpose of this study was to investigate trends in male choreographers’ work in Korean dance, as demonstrated in “12 Korean Contemporary Dance Choreographers’ Showcase.” For this study, the researcher observed the showcase before collecting and organizing critiques about the showcases from dance magazines, such as 󰡔Auditorium󰡕, 󰡔Performance and Review󰡕, 󰡔Dance Forum󰡕, 󰡔MOMM󰡕, 󰡔Dance Korea󰡕, 󰡔Dance󰡕, and 󰡔Dance and People󰡕. These articles were collected from performance pamphlets and related news in the 1990s or earlier from the Internet News Libraries (newslibrary.naver.com). The researcher also interviewed and communicated via email with the choreographers who participated in the showcase. The interviews included questions about background information in creating the work, the focus of the dances, and their points of view. From 1987 to 2005, a total of 15 male choreographers in Korean dance participated in”12 Korean Contemporary Dance Choreographers’ Showcase,” composing a total of 26 performances. Gook Soo-Ho participated in the showcase eight times, including two repeat performances. As this showcase emphasized premieres, Jeong Jae-Man had three performances, Chae Sang-Mook had two performances, and Kim Yong-Cheol had two performances. The Other 11 choreographers had one performance each. The choreographers demonstrated various themes in “12 Korean Contemporary Dance Choreographers’ Showcase.” Performances with the themes of fraternity and love for family included “By the River in North Korea” by Gook Soo-Ho and “Share” by Kim Seung-Il. Performances with themes of nihil and samsara included “Empty Boat,” “Gook Soo Ho’s Bolero,” “Garden of God Ⅰ- Nought (無)”by Gook Soo-Ho and “Mind Purifying Music” by Chae Sang-Mook. “Dance in the Sky” by Jeong Jae-Man illustrated the pursuit of an ideal, whereas “Sound of Dried Wild Flowers” by Chae Sang-Mook and “Light Wind” by Kim Yoon-Soo tried to overcome reality. There were also themes of exorcism (ritual ceremony) for the repose of souls: “Meditation of Myeonam” by Gook Soo-Ho, “Fever” by Im Gwan-Gyu, “Like Butterflies” by Lee Hong-Jae, and “Black Exorcism” by Kim, Yong-Cheol. Finally, there were themes of discovery of the ego and self-training, including “Danya (Red Bellow)” by Kim Yong-Cheol, “Shadow” by Kim Jeong-Hak, “Sad Song” by Han Sang-Geun, “Ego” by Lee Gyeong-Soo, and “Far Away” by Kim Nam-Yong. Since 1987, male choreographers in Korean dance have demonstrated unique performances in “12 Korean Contemporary Dance Choreographers’ Showcase,” presenting dance performances with religious and philosophical speculation. Generally, they emphasize themes about human beings and the environment. There are fewer female choreographers in Korean dance than male choreographers. However, female choreographers also try to show their spirit based on their lifestyles and experiences. As choreographers in Korean dance, they adopted the division of Korea and the Korean environment as a theme rather than showing the uniqueness of Korean traditional dance movements in developing Korean contemporary dance techniques.