This study examines how Han Seongjun’s aesthetics in Jeukheungmu were transmitted to Gang Seonyeong. Using documents from the Joseon Music and Dance Institute and oral accounts from Gang and her successor Gim Miran, the study employs an interpretive method. Han’s instruction- “gcombine the learned movements and create your own dance”-shows his view of Jeukheungmu as a form of individuality and inner freedom. Gang embodied this lineage through affective contrasts of stillness and sudden release and the coexistence of joy and sorrow. Testimony on the “six movements” confirms Jeukheungmu as a core creative-pedagogical system reflecting Han’s aesthetics. This study clarifies how freedom and emotion are inherited within Korean dance.

This study chronologically analyzes the institutional changes of the Seoul Dance Festival(SDF) using the framework of New Institutionalism to identify the festival’s function as an institutional field where national cultural policy, the artists’ community, and social discourse intersect. The research employs a three-tiered analytical framework —policy history, institutional history, and cognitive discourse—to structure the festival’s stages of formation, transition, and institutionalization. The analysis reveals that the SDF’s institutional evolution accompanied the complex interplay of regulative, normative, and cognitive factors. Key drivers included internal critical discourse from the dance community, the national cultural policy’s ‘Arm’s Length Principle’, and the exogenous pressure of adopting ESG-based operations. This empirically demonstrates the realization of Discursive Institutionalism, where social values such as fairness, transparency, and sustainability become internalized as institutional norms. Ultimately, the Seoul Dance Festival transitioned from a ‘regulative institution’ focused on administrative efficiency to a ‘discursive institution’ that has internalized social trust and value. This confirms the shift in Korean arts administration from an emphasis on efficiency rationality to a cultural rationality centered on social discourse.

The purpose of this study is to illuminate the development and characteristics of dances in the area of Seoul based on achievements and significant contributions of Han Seong-jun, a master of Korean traditional dance. The study period spans from 1908, when Han Seong-jun settled in Seoul, to 1941, the year of his passing. Research methods involve literature related to Korean music and dance, as well as examining newspaper materials. The research focuses on Han Seong-jun’s dance lineage within traditional dance. The findings reveal that dance evolved through both theatrical and private arts organizations. In the early 1900s, Seoul-based dances, following Han Seong-jun’s legacy, were performed by artists associated with various private arts groups, gradually transitioning into commercialized, staged, and entertainment-oriented forms. From a traditional and creative perspective, dances are categorized into those transmitted and performed continuously and those that have disappeared and are now being revived. From today’s perspective, the approximately 72 works that Han Seong-jun staged, restructured, and created can be considered ‘Han Seong-jun style new tradition’. Most of the works have been destroyed, but there has been a movement to restore and reproduce them recently.

Jeonju Daesaseupcheong(Jeonju Traditional Culture Building), founded in 2021, introduces a permanent performance system and presents traditional art performances every Saturday. With the annual number of visitors to Jeonju Hanok Village currently reaching 10 million, if the Jeonju Daesaseupcheong's permanent performance for tourists is activated, it will have infinite potential as a traditional art content and will become an unrivaled performance. This study has examined the current status of permanent performances on Saturdays and sought ways to enhance them based on a SWOT analysis of the Jeonju Daesaseupcheong’s performance report and Steering Committee’s activities. The results of the study are as follows. First, a promotional marketing strategy needs to be designed, targeting tourists in Hanok Village as main audiences for traditional art performances. Second, pansori-based Changgeuk(Traditional Korean opera) can be developed into a permanent performance repertoire. Third, a development of participatory content creation is suggested to encourage local residents’participation. This study makes some important contributions to suggesting the operational directions for the permanent Saturday performances of the Jeonju Daesaseupcheong.

The purpose of this paper is to explore the relationship between Bak Geum-seul's "Chumdongjak" movement principles and Somatics. It is also to examine the movement principles of Bak Geum-seul’s "Chumdongjak" in relation to the theory of the Five-Elements: Wood, Fire, Earth, Metal, and Water. Through the embodied experience in Bak Geum-seul's basic dance moves, the results of the study are as follows: First, one of Bak Geum-seul's movement principles is to enable a dancer to recognize and be aware of their body, which is similar to a principle of somatics that focuses on body awareness. Second, Bak Geum-seul's ‘upper body’ movements can be represented as Wood and Fire. Bak Geum-seul’s ‘middle body’ movements can be described as Earth while her ‘lower body’ movements can be symbolized as Metal and Water according to the theory of the Five Elements. The study suggests what happens inside of our bodies can be signaled through emotions. I hope that this study, which emphasizes the importance of expressing internal emotions through dance, may promote a healthy and harmonious lifestyle.

The purpose of this study is to analyze the dance structures of Seoul Intangible Cultural Property Hallyangmu, performed by different successors of the dance. The study utilizes the literature research method to examine the origins and the structural characteristics of Hallyangmu by the successors. The research incorporated the personalities and viewpoints of each successor of this dance. The results of the study have been derived from the analysis of the following four aspects: 1) the characteristics of each role played in the dance based on the narrative, 2) the names of each role’s dance movements, 3) the costumes and props used in the dance, and 4) the rhythm structure in music used for the dance. I hope that this study will contribute to re-recognizing the value of Hallyangmu as a traditional dance and further develop Korean traditional dance.

This paper examines the formation and structure of dance music and the relationship between dance and music in order to better understand Kim Chi-hong's style of the twelve-forms Janggo dance. Literature review and oral history research are employed as research methods, and the musical characteristics of sound sources and videos are analyzed using a characteristic decomposition method. The results of the study can be summarized in three points. First, this article revealed that the music of the dance was a Seodo folk song written at the end of the nineteenth and beginning of the twentieth centuries. There is a greater possibility of the twelve-forms Janggo dance and its music interacting during the period. Second, the rhythm of the twelve-forms Janggo dance changes from Jungmori (♩ =65), to Gutgeori (♩ =40), and then to Jajinmori (♩ =70-95) rhythm. Third, music was transmitted along with dance. The process of transferring the twelve-forms Janggo dance is closely related to lyrics, the melody, and the rhythm of “Ginnanbongga”, “Cheongchunga”, and “Hangang-soo taryeong”. This research is important because it indicates that the musical structure and formation of this dance contributed to the transmission and creation of the dance itself.

This study aims at the description of ecological connection between body and earth(nature) through dances, rituals, and body movements. Referring to some dance studies which assume the body-earth connection as a lever for the realization of ecological relationality, this article illuminates some cases of ecologically related dances, rituals and body movements. In the first, this article reviews recent discourses of philosophy, anthropology, and dance studies on ecological consciousness, experience, ontology, and ecosomatic perception. Recent academic discourses emphasize that the connection is realized by the non-hierarchical relation, free from the perspective of dualism, between human being and ‘more-than-human’ world. Secondly, this article describes concrete cases. The cases show participants’ experiences of various ways or modes of connection, respectively; attentive efforts toward subtle energy in connection, immersion into the ecological world, surrender to earth, sensing reciprocity, realization of body as microcosm of earth, becoming other being and ontological transformation. In sum, this study describes people’s experience of the ecological world connected by dances, rituals and body movements.

This study explores the primary issues in international performing arts exchange in the post-COVID-19 era. In our in-depth interviews with dance artists, each with over eight years of experience in international exchange before and after the pandemic, we witnessed the challenges and opportunities posed by the current pandemic situation. We used phenomenological methods to analyze the interview data. Our analysis revealed four problems: (1) the gap between live performance and recorded online performance; (2) the lack of equitable collaboration between artists and arts administrators; (3) the lack of diverse approaches and forms of support; and (4) the increase in barriers to international performing arts exchange. Our findings suggest countermeasures, such as: (1) balanced support both for live performance and online performance; (2) more flexible communication between artists and administrators; (3) adoption of more diverse and creative modes of international exchange; and (4) provision of training and education to promote artists’ access to and mobility in international artistic exchange.

This study focuses on analyzing how Han is embedded and characterized in a traditional folk dance, Seung-mu, and its relationship to the Korean culture and dance. This research employs literature reviews for the concept of Han and historical background of Seung-mu and Laban Movement Analysis (LMA) for an objective analysis of movements. The findings of the analysis are as the follow. A combination of slowly Rising lower body, gradually Opening arm and Growing torso movements is created by very strict control from the core and Breath Support and is accomplished by a Mobile State—Bound and Sustained—Effort constellation with a moment of inhalation. Continuously following Scattering arm and throwing long sleeve movement accompanies with a moment of exhalation, which comes with Diminished Strong, Free, and Quick Passion Drive Effort. Then, highly controlled outpouring exhalation directs a smooth knee bend and arm close with following soft curves of the long sleeves. The intensely controlled breath supports Sinking Shape Qualities in whole body and inner energy stream smoothly comes back to previous Mobile State, Bound and Sustained Quality. These particularly sequenced movement qualities creating a movement phrase mean a qualitative pattern of the Seung-mu and also reflect the emotional transforming process of Han. The Bound and restricted characteristics signifying strictly controlled inner impulses of lamentation, in Seung-mu refer to a tragic history and strong social restrictions like taboo within the traditional society of Korean people. The hurt and lamenting feelings from their tragic fates are transformed into the artistically refined expressivity with the embodiments of positive and peaceful feelings in Seung-mu.