The purpose of this study is to analyze and organize verbal descriptions articulating dance movements as a method to pass down a basic dance that epitomizes the unique stylistic features and techniques of an individual dancer in the contemporary and modern times when Gujeonshimsu(handing down orally and instruction with spirit) is the general teaching method in Korean dance education. The late Korean dancer and choreographer Choi Hyun is renowned for his commitment to performing and directing various genres of dance as well as nurturing students. As a highly acclaimed Korean dancer, his unique dance movements and skills are well worth being preserved for future generations. In this regard, this paper presents a method to hand down the legacy of Choi’s dance by classifying representative movements and techniques from his basic dance that integrates the creative skills and movements found in many of his performances, and by systemizing verbal descriptions of those movements. To that end, key movements of Choi’s dance were classified and their verbal descriptions were analyzed through examinations of previous studies of his dances, an analysis of his performances on video, and an empirical analysis on the repetitive practice of mimicking his moves. A summary of these research findings suggest the main features of Choi’s dance as described by previous studies as follows: artistic dance with transitional characteristics both contemporary and modern; theatrical expressionism; harmony between masculine and feminine; charm of impromptu motions found in Deotbaegi-chum, a representative dance of the Gyeongsangdo region; the inseparable relationship with music; upright postures and curved arms; metaphysical joy and flavor; and the beauty of emptiness and romanticism, etc. The movements featured in the videos of Choi’s dance performances are analyzed based on what characterizes his dance as found in previous studies. According to the results, the movements are largely classified into three categories: whole body movement; upper body movement; and lower body movement. With each category having four subcategories, the movements are classified into a total of 12 forms of movement verbally described. The whole body movement is demonstrated in four techniques: left and right body swinging and upward and downward closing movement; slight forwards and backwards walking with alternate leg crossing; fierce upward and downward body movement; and closing movement. The upper body movement is classified into four postures or movements: waist twisting; head tilting; circular arm movement; and cross-winding both hands. The lower body movement is displayed in four techniques: legs kept together and legs kept together while standing; short steps; low jumps; and legs-together standing posture. In conclusion, to identify the key elements of Choi Hyun’s basic dance movements and systemize verbal descriptions will be one of the ways to transmit the artistic value of his unique dance performances.

The emergence of “new dance” is considered an important event in history of Joseon folk dance, from the ancient times driven by slavery through modern times. Choi Seung-hee was a pioneer of “new dance” and leader in “new dance” in Asia. In addition, she was a great contributor to change and development of Joseon folk dance and had great impact on development of oriental dance as well. In this paper, I studied Choi’s identity and her body, her performance, logics of her performance, and her performance notion, and her revelation which drove her to be dedicated to folk dance. This study analyzed Choi’s dance in three categories of identity, language, and revelation. In the category of identity, three subjects of janggyeong (場景) and identification, Choi’s identity, and her body were discussed. janggyeong (場景) is a concept I used to study dancing phenomena in different scenes. The word is a combination of jang (場), meaning space and gyeong (景), meaning sight. Therefore, the word refers to sight of a person doing something in a space, which naturally comprises elements of person, work, time, and space. When space, a person, and work exist at the same time, space is confined to work and a person’s identity is defined as work he is doing, and work is a determinant of the person’s identity. Choi Seung-hee was engaged in dance and related work in her whole life. This gave her multiple identities aside from a dancer. In the beginning, for example, she was a dancing learner and a person expressing things through dance, and when starting to create work, she was a creator of art work and finally she was a dancing educator, researcher, and manager. She obtained some of them simultaneously while others one by one over a long period of time. From the viewpoint of cultural and institutional norms, her identities represented a unity of Western and Eastern cultures, a unity of Western and Eastern dance, and a unity of traditional and modern dance. Despite this, her movement, as a dancer, stood for Joseon folks and modernity. In the language category, three subjects such as performance, performance logics and performance notions were discussed as a dancing language. For dancers, language means performance and Choi’s performance mainly concerned creating work of Joseon folk dance and developing teaching materials. Language is the logic of social activity and for dancers, it becomes the grammar of dance performance. The grammar served as the underlying basis of Choi’s work creation and developing teaching materials and the means of language turned into teaching materials for Joseon folks. The way the language was used became how Joseon folk dance was formed. Based on this, I concluded that Choi Seung-hee’s performance of Joseon folk dance and her teaching materials can be defined as use of a Western system by Joseon folk. Language is a concept and idea associated with social activity. Choi’s dance encompassed ideas of nation, people, creating new things and openness. The category of revelation detailed the great dancer’s revelation to development of Joseon folk dance, which concerned respect for fellow people, self-awakening, no fear of creating new things, and open-mindedness.

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.