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.

The purpose of this study is to shed light on the artistry of choreographed by Kim, Baek-Bong from the view of ‘artistic beauty’ of G. W. F. Hegel. Since the first performance in 1959 at Won Kak Sa, has been transmitted and performed by her students. It has been performed for 6 minutes and 30 minutes; the order of compositions of the music for this performance is Jungmori in 10 beat, Jungjungmori in 12 beat, Jajinmori in 14 beat, and Hwimori in 70 beat; it starts with a slow tempo and gradually develops to a fast tempo. According to Hegel, ‘content’ and ‘form’ are the material components actualizing the art in the real world. The ‘content’, the expression of artist’s identity, consists of ‘Phantasie’, ‘Begeisterung’, and ‘Talent’, and the ‘form’, the method for logical expression of content’ consist of ‘Manier’, ‘Stil’, and ‘Originalität’. The content of is appeared through the creative imagination by natural subjects, snow crystal and cocoon, the inspiration consisting of internal motive, large flakes, and external motive, the necessity of designing a new work, and the unique capability(genius) for choreographing a group dance such as the number and positions of dancers and structural changes by musical and spatial compositions. The form of is appeared by the changes in linear form. The straight lines and curves in the work reveal the traditional patterns of group dances. Those lines secure the external formality through regularity, symmetry, and generality. Also, the uniqueness of is shown by the critical essays good at integrating and proposing the identity and characteristics of the work displayed at the title of this study. This study assures that is not only a performing art with good aesthetic content and form for artistic beauty but also a piece of art with educational value, as well as discovers the spirit of artist deep under its external splendor.

The purpose of this study is to analyse and comprehend the aesthetic elements of Herodiade performed the premiere in 1944. For this study the piece’s content was apprehended from texts, the written sources. In addition, the study suggests the internal aesthetics and formal aesthetics explored from technique, movement skill and expressivity. As another aesthetic perspectives this study approaches to the choreographer, Martha Graham with a viewpoints of Nietzsche, feminine truth. The piece, Herodiade deals with the method of representational expression. The breathing as movement principle is found as an aesthetic element identifying the substantial life. The technique based on breathing accepts the emotional tension and senses, broadens the movement areas, and identifies the dance’s internal life in its expressiveness. The bird-formed sculpture stands for the ‘internal bird in mind’. This bird also stand for psychological tension of woman, in later part of the piece a dancer drift apart from it. Graham express herself the rebuilt life-world, solve out the psychological tension experienced in reality, by interacting with the significant bird-formed sculpture, and with another dancer’s role of nanny. In choreographer’s stance, the aesthetic of Herodiade is considered as an expressiveness, femininity, bodily experience and entranced phenomenon. The piece enable the lived experience of the grace, the unity of art and life. The contents of the piece stimulate to find out the meaning and aesthetic value from the loss of authority and power, individual emotion, entrance, and extreme world of sensitivity. The piece deals with the bodily experience of feminine world, implies the aesthetic element of the grace in aspects of recognition of greatness. It enable to meet a woman and her image of waiting the unexpected, wandering, as one aspect of human beings. The femininity conceived by Nietzsche is described as reinstate from masculinity. The woman for Nietzsche is considered positive, artistic, self controled. Nietzsche’s truthful viewpoints suggests a view of feminine world in accordance with the relationship of body and the earth. The significance of this study is on the rediscovery of femininity and its meaning.

The period from the late 1930s through the 1940s was a tumultuous time in China because of two devastating wars—the War of Resistance Against Japan (1937-1945) and the Chinese Civil War (1945-1949). This essay examines the impact these wars had on concert dance, at the time still a newly emerging art form in China, by examining the case of Liang Lun 梁倫 (b. 1921), a dancer from Guangdong who began his dance career during the 1940s. Although Liang is widely considered to be one of the founding figures of modern Chinese dance, he has received almost no attention in the English language scholarship. This essay thus serves as a preliminary examination of Liang’s early choreographic repertoire, as well as a reflection on the ways in which Liang’s experiences reflect broader trends in Chinese dance during the wartime period.