This study aims to obtain objective reliability for the criteria for the effective use of visual media in dance creative works, derived by the researcher through prior research on “A Study on the Utilization Effects of Visual Media in Dance Creative Works.” To achieve this, the study analyzes four contemporary Korean dance creative works that utilize visual media, validating the validity of the criteria for effectiveness. Accordingly, the research allows the choreographer, who is also the creator of the works, to apply thr criteria directly, enabling analysis of the visual effects based on choreographic intent.

This paper was written from the perspective of non-reductive materialism to interpret choreographic changes and medium replacement in Korean traditional dance. Non-reductive materialism is a theory that all phenomena are mentally created from substances and that formed mental phenomena do not return to the substances from which they came. This principle was the matrix Danto used to explain the ontological status of artwork. Additionally, Margolis borrowed Strawson’s concept of person and applied it to assess art analogically. This same concept can be applied to explain dance; dance uses movement as a medium, which in turn uses humans as a medium, making humans the embodiment of a physical substance—the body. The physical substance, then, is the property of the medium, embodying the dance performance. Embodied dance contains the physical properties of the medium and intentional properties, such as mental phenomena, which do not belong to a physical property. Therefore, the relationship between medium, movement, and dance is non-reductive, and each is indivisibly soluble with the next. From this point of view, each dance performance produced from the same medium is independent and unique. Successive changes in Korean traditional dance are replacements of the fundamental medium. Successive dancers can obtain similarities to previous performances in their own dance by training with a former dancer. During training, breathing is a core principle of movement and an element that considerably influences dancers’ similarities. This process is called transmission. As a result, long-term similarity training is a primary factor when choosing successive dancers because they share the mental of traditional dances and choreography with their successors.

This study analyzed traditional dance scenes in historical dramas and related internet articles in order to understand their contents and characteristics, assuming that contemporary media discourse has contributed to the production of traditional dance images. The subjects of the study are the traditional dance scenes from eight historical TV dramas, which were broadcasted in 2016: , , , , , , , and related articles posted on the news category of the portal website Naver. The study showed that the image of a traditional dance appearing in the traditional dance scenes was portrayed as a beautiful, mysterious, or powerful means of tempting viewers. Most of young, female main actors played the dancers, and the close-up shots focused on the performers' faces. The types of traditional dances exposed to the dramas and the appearance of their movements were not appropriate for the historical conditions, such as the background of the dramas or the status of the characters. In addition, the fact that the gender and status of the performers were confined to female dancers or female shamans could not go beyond the historical fact at all. In the content analysis of the internet articles, it was found that the names of traditional dances were not based on professional knowledge. It was also found that, when describing traditional dances and performers, similar expressions were used despite the different types of dances and narrative situations in each scene. This is related to the fact that the contents of the internet articles were provided by the agency of the female entertainers who played the actors and filtered through the portal site, rather than reflecting the intention of the drama's producer or entertainment media reporters. In other words, the internet articles promoting the traditional dance scenes were written as a means to increase the popularity of entertainers. Therefore, it should be noted that this bears many problems when propagated to the public as a traditional dance discourse. This study is significant, revealing the image of “dance”, “dancer”, and “dancing woman” in and out of the dance system by revealing the image of traditional dance produced by contemporary media and media discourse. Finally, it is hoped that this study can contribute to generalizing the images related to dance and preventing the excessive prejudice over dance.

In this study, we investigated the characteristics and methods of dance ekphrastic. We take a look at the concept of ekphrasis and then looked into the notion of ekphrasis in dance. Ekphrastic dance takes into consideration the historical, political and cultural context of the piece whilst interpreting its content. Ekphrasis accompanies dance studies, making intermediality an inherent part of the discipline. There have been few studies on ekphrastic dance, or the art of transforming dance works into text. This study uses methodology from literature studies by exploring books, music, digital ekphrasis. Such a study can give something as fleeting as a dance movement theoretical and historical weight. By transforming dance into words, we hope this study will provide new perspectives and extend the concept of dance research.

This study focuses on the sociocultural and artistical interrelations between the "Korean Dance" and two of the most popular non-textual forms of mass media - commercial sound recordings (gramophone records) and films (feature films, newsreels, documentaries) - between the 1930s and 1960s. First, this study focuses on how gramophone records were employed through the Korean dance recitals during this period, as well as on what type of music was used in these recitals. Second, this paper examines the films documenting "Korean Dance" shot and produced during the time period in question, and discusses how these films were produced and how it has impacted establishing the "Korean Dance" through its mass distribution. By doing so, this paper attempts to provide a preliminary suggestion on how the "Korean Dance" has made its transitions over time, as well as an opportunity to historically understand the actual manifestation of "Korean dance" during its earlier days of a modern form of performing arts. It can be strongly argued that a strong sense of a historical parallel is revealed between the historic development of the Korean Dance in the early 20th century Korea and the development of the notion of Korean national culture, as both came into their modern manifestation through a series of constant interactions between Korean premodern cultures and the modern foreign cultures.

This study aims to explore the critical approach toward media in contemporary dance, which avoids conventional understanding of dance and artistic media. After reviewing important contexts and debates concerning contemporary dance, this study discuss the matter of its ambiguous boundaries and expansion through the concept of intermediality.

The idea of performance and dance with its ephemeral nature and media being used to preserve it, has constituted a conventional understanding of its temporality. However in contemporary dance, the archive expresses the request for extended temporality that enables the simultaneous existence of what is remaining, what is captured, and what is progressing in the performance. In addition, these archives expand into living spaces so that performances can lead to theoretical, educational, or political discourses, and function as a mediating space where heterogeneous entities such as art, virtual reality, and real life meet.

Moreover through this study, I wish to illuminate the expanded understanding of media in contemporary choreography as a criticism on previous media conventions, by introducing certain examples of autobiographical performance pieces in which the performer tells his or her own story. These works show the blurred boundaries among verbal languages, documents, and corporeal performance. They also bring participants in communication with performers, who can be understood as a physical archive of memories and experiences, roaming the ambiguous space inbetween reality and arts. Accordingly, an autobiographical performance creates an intermediality that allows the body-archive to experience and construct the virtual identity of the body in a fragmented manner.