This study aims to explore the life and art of Alexander Ekman, examining and critically analyzing the artistic characteristics of Ekman's reinterpretation of the classical work Swan Lake. The research discusses the multidisciplinary artistic elements present in this work from a critical perspective. For this purpose, the study utilized domestic and international video materials, reviews, and resources from Ekman's official website.The findings are as follows: First, from a choreographic perspective, Ekman structures the entire piece around the directorial element of 'situation,' integrating movements from ballet, tap dance, and musical theatre with theatrical elements to intuitively shape the performance. Second, he separates or deconstructs Tchaikovsky's original score while incorporating voice as an additional sound element and using the element of 'water' both visually and aurally. Third, Ekman employs dialogue from theatre to enhance dramatic situations and stage transitions, merging these with movement to expand the scope of his direction through the everyday nature of theatre. Fourth, he maximizes the effect of objects, stage sets, and installations to incorporate the mise-en-scene effect into the work.This study seeks to serve as a foundation for understanding the multidisciplinary and artistic innovations in Alexander Ekman's reinterpretation of Swan Lake.

The word ‘Convergence’ is one of the major key words in this age and it is used in many different fields and various ways. The purpose of this study is to verify the role of convergence in maximizing the artistic expression and to confirm the possibilities of convergence effects whether it can bring change and create new territory in dance field by analyzing Deborah Colker’s choreography , which best reflects convergence characteristics. This study examined Deborah Colker’s choreography , focusing on convergence by using Janet Adshed’s dance analysis methods. Debora Colker brought the huge vertical stage and it played the big role in . The dancers certainly exceed ordinary human limits with highly physical dance, bordering on acrobatics, sports and arts. These converging movements of acrobatics, sports and ballet and the vertical set formed a coherent whole. They interacted together so strong that it maximized the artistic expression and brought the possibility of a new vision of dance.

The purpose of this study is to identify the core capabilities necessary for a dancer to have an expertise in, art education and to incorporate the capabilities along with a practical plan in order to educate professional dance educators. The results have shown that the arts educators need core competencies in the fields of emotional cognitive, creative convergence, problem solving, humanistic, cultural educational, artistic, and healing competencies. These core skills are necessary in order to develop competence necessary for the artistic, educational and research activities of a dancer. For this purpose, a practical plan in which dancers can follow comprises steps of reflecting on the dancers who are already in the dancing world, vitalizing a sharing system amongst art educators. It also requires dance art education standard specification. and guidelines setting as well as activation of educational content and globalization of traditional fusion culture.