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 is to find the significance of Seungmu(Buddhist dance) in Han Yeongsuk’s style by analyzing musical and choreographic characteristics of its Dangak movements, which distinguish itself from other styles of the Seungmu, in the light of exhilaration consisting of the basis of Korean culture. By this study, it is achieved to firm the identity of Seungmu in Han Yeongsuk’s style and determine its significance in the history of Korean traditional dance. The following is the result of this study. Firstly, Dangak is the movement that four of very fast three counts consist of one beat, played when a shaman has a dancing ritual for a spirit to possess the shaman in Seoul and Gyeonggi area. Dangak rooted in this shaman music is conservative in that the shaman music is the music for a spirit but at the same time also open and dynamic because it is professional music for audience in performance field. Dangak movements which accompaniment is based on such dynamic shaman music is most likely to bring exhilaration and amusement out by various melodies of performer’s impromptu playing and repetition of rhythm with fast speed and a number of beats. Secondly, in the dance of Dangak, the performance starts primarily with the dance spreading, winding, laying or turning Jangsam(the robe of Buddhist monk) or throwing it over the shoulder. Then performer takes the drumstick out of the robe and beats a drum, holding back the sleeve and dancing each motion with robe and drum harmonized. This can be said a master of dance mingling Jangsam and drum with beauty of balance, which has been developed further from the prior form of dancing that was with only Jangsam or onlydrum beating. As accompanied with such world of Dangak dance, dynamic of Dangak accompaniment with fast speed accelerates the elevating energy generated from the harmony of drum and Jangsam, creating aesthetic performance to sinmyeong(exhilarate). Moreover, it has no diagonal motion but makes the repetitive motions balancing at center, such as moving from center to the front or from the front to the back, so that it has satisfied the requirement to maximize strong and active energy. In other words, various dancing motions balancing at center including stepping forward and backward, turning and taking steps back are fitted with fast rhythm, lifting up the atmosphere of exhilaration gradually. Thirdly, considering Dangak movement of Seungmu in Han Yeongsuk’s style has been evolved into Dangak dance with drum beating and the motions using Jangsam harmonized, it deserves the significance for its unique identity. Furthermore, it is a representative dance as one of the best Korean traditional dances since it has embodied an aesthetic structure arousing exhilaration, the root of Korean culture, with its own composition elevating from slow rhythm of the monotonous rule in traditional music to fast one.

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 study examines the life and art of a choreographer Akram Khan, who has a dual identity of Bangladesh origin and British nationality, and choreographed about his cultural identity through his solo work Desh. For this purpose, this study analyzes related articles and interviews of preliminary researches, books and media both in Korea and abroad, reviews of critics, internet materials, and programs. As a result, first, he indirectly enumerated the surface of his wandering identity that does not know where to go and where to stand and created relationships in expressions of various characters coexisting in that space directing artistic representation of past, present, and virtual spaces. This dualism of diaspora empathy is the core theme of the work by forming the diaspora of Akram Khan with an emotion different from that of the first generation immigrants. Second, his personal interpretation of communication and exchange with different identities in a confused culture is projected in his work through a personal story that bears two cultures, Bangladesh and England. Especially, these works have been sublimated into artistic aspects, and fused with artists, music, lighting, set, and animation in other fields with a focus on dance in the works, and created a mise-en-scene that leads to artistic trends in the 21st century. Third, Kathak that he learned in his childhood has become the footstep of his art world. In particular, the acceptance of the narrative elements and movements of the Kathak has created his own language. In conclusion, Akram Khan's "identity" is the source of his artistic inspiration, and he respects the heterogeneity of his identity from his own perspective, this is sometimes different from the that of the other.

The study examines Sartre's existentialist philosophy and Ericsson's theory of self-identity development in order to understand and advocate the need for elementary school dance education. Movement through the body can develop self-identity. This is because physical expressions that expose the interior to the outside help to autonomy and achieving. By expanding physical abilities and improving expressiveness, a child can develop his or her own identity. Considering that children grow up amid various social influences such as school life, an appropriate dance education is needed to help elementary school students to culture a healthy self-identity. Dance education provides an aesthetic experience for children to come into contact with society, and affects not only reflexive thinking but also self-identity. A proper approach to dance education in the elementary school years, when children experience sociality after infancy, will not only achieve balanced development, but also contribute to the complete self-identity of the child.