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.

The interface of technology tends to limit human movement as the body adapts particular movement patterns to interact with a machine. The multi-touch gesture interface employed by a smartphone also demands a user's certain movement patterns in order to deliver his or her tactile command to the machine more effectively and efficiently. This study aims to observe and analyze the movement of smartphone users and to identify its characteristics associated with the use of such a device. To demonstrate this, 30 second-long movement samples were collected from three different smartphone users and fully investigated at a micro and macro level based on Laban Movement Analysis and Bartenieff Fundamentals (LMA/BF). The findings of this study suggest that smartphone users tend to stay in the same Shape Form with the same size of Kinesphere for a period of time and use distal parts of the body with relatively small movements. The actions frequently performed are touching and sliding, which mostly show one-dimensional directionality; and stillness. In sum, the Inner/Outer movement theme is predominant in the context of using a smartphone as users exist in the inner world or make a bridge to the environment by attending to the device or to themselves according to different inner needs to manipulate the device or to take information from it.

Byung-Choen Park’s Jindo Drum Dance is a masterpiece that strikes a balance between traditional Korean music and dance. As one of the most representative traditional dances, this dance has been loved and performed by many people for a long time. This study focuses on discovering the unique qualities of Byung-Choen Park’s Jindo Drum Dance by examining its movements through Laban Movement Analysis. Along with this analysis, this study also explores the special concepts and philosophical meanings embodied in the movements of the dance. As a Certified Laban Movement Analyst, the author analyzed the movements based on the dance film shown at Jin-do on November 7, 2008. The movement qualities of the Jindo Drum Dance are as follows. First, the dance employs both regular beats and irregular up-beats that cause disorder within order. Second, the limited torso movement while holding a drum enhances simultaneous and, consequently, harmonized arm and leg movements. Third, diverse arm and leg gestures draw curved and straight spatial designs by using peripheral and transverse spatial pathways. Fourth, in most performances, the dancer faces the front and right and left forward side directions based on the proscenium stage. Also, the diverse spatial directions of all body parts within a personal kinesphere create three-dimensional volumes with mixed diagonal lines within a cube. Fifth, the inner impulse of the movements demonstrates an Effort phrase, such as Action Drive, then Bound and Free Flow and Passion Drive, versus Remote or Mobile State. These Effort phrases reveal a unique Korean dance aesthetic, which consists of a harmonizing of Jeong Jung Dong-stability and mobility, as well as calm and active. Sixth, these five special qualities rely on a structure that includes principles of repetition. Repetitive movement qualities help audiences appreciate and evoke the unique Korean sentiment, Shin-myung. All of these movement qualities are well orchestrated in between two opposing poles, such as harmony and chaos, regular and irregular, soft and stiff, strong and weak, curved and straight, and feminine and masculine, which eventually imply the special Korean cultural concept of Jeong Jung Dong and Dong Jung Jeong, which is based on Yin-Yang philosophy.

In this study, I apply the LMA(Laban Movement Analysis) system to analyze the movement of Taekyun. In this context, I think that if I can analyze the movement of Taekyun which is representative of Korean martial arts by the LMA, It will be a new opportunity to shed light on traditional martial arts from an artistic point of view. I especially focuse on the dancing elements of Taekyun. It is thought that the action of the Taekyun movement ​​resembles curve, because it avoids the fatal blow on the opponents. Taekyun is embodied a unified gesture through the tempo of strength and weakness, with softness in its movement. I explore the physical aspects(Body), qualitative aspect(Effort), shape of movements aspect(Shape), and spatial aspect(Space) of LMA in order to illuminate the aesthetic elements of Taekyun. As a result of the analysis, the dancing elements of Taekyun are found as follows. First, in the body part, I find a common feature that is connected naturally by Breath Support and Core Support. Respiration strengthens the meaning of each action in the three movements(pumbalbgi, hwalgaesji, neunjileugi). Second, in terms of quality(Effort), I find the properties of Strong Weight and Quick Time. A common feature of the Effort is the rhythm state. It can explains the reason why Taekyun is similar to dancing movement. Third, the spatial aspect can be seen as a Directional Shape, but it can not be completed unless Shape Flow is emphasized. Fourth, in the aspect of the Shape, it can be seen that there is a Central Tension when you raise his leg to defend himself or when he turn his arm to defend from his opponent's attack. I hope that this study help the LMA to be applied to the various fields in order to the value of movements.