This study is to trace the fundamental structure of how PKIP, which was developed by Anna Halprin, a dance educator, artist and the founder of Tamalpa Institute, is experienced by dancers. For this, we have searched the background in which PKIP was created and its work structure and executed a qualitative research on dancers’ experiences. Five professional dancers with their experiences of more than ten years in dancing and over six months in PKIP were selected as study participants. The study participants’ experiences through PKIP were divided into three main topics i.e. the penetrability among media, images as the inner teacher of creativity and the creative transformation of emotions and again, each main topic could be divided into two sub-topics. Through PKIP, the study participants experienced the whole system where they realized that their movements generated interactions between the inner images coming across the dancers’ minds and the outer images in drawings or poetic languages, and through these interactions, they came in and out of two or three different art media’s areas freely and let the media’s influences inter-penetrate each other. Also, they found out images were activated as their inner teachers of creativity. Through PKIP, they discovered the inner tensioned voices commenting on their own movements and could realize that creativity which they have as dancers expanded as they trusted their subjective images. Lastly, the study participants confronted their emotions in a different way from the ones they experienced in general dance performances and this became the resources for their new, good-quality dances, and also PKIP provided each of them with an important private area that the participants might have as dancers because PKIP dealt with their emotions just directly; the participants perceived all these they experienced as their importance experiences.

This study suggested the effect and implication of the emotionalisation programme as an education or a training tool for enhancing face expression of performers utilising FACS which is based on facial muscle anatomy and muscle behaviour. For this purpose, this study limited the body range of the training from head to neck, showing how this programme could be applied to performers. In order to verify the effectiveness of the programme, this study measured the pre-to-post test of the WLEIS scale on emotional intelligence. In addition, observational logs, self-report journals, and in-depth interview data were collected to examine the psychological and physical changes of the participants. The collected data were analysed quantitatively using statistical analysis package IBM SPSS Statistics 22 as well as qualitative analysis using NVivo 12 software. As a result of WLEIS, the average before and after the programme showed a statistically significant difference. According to the qualitative result, participants began to observe self and others, and was able to perceive two aspects of universal and personal emotion. By putting the emotional expression of the other persons on own faces of participants, the clearer standard of the facial muscle behaviour was acquired, their facial impression was changed positively, and the new emotional arousal was brought up. Therefore, it discovered the possibilities of this emotionalisation programme not only to extend to the general public who improve their face expression for emotional purpose but also to be a foundation of the face training.

It is possible to determine how nongak (traditional Korean music performed by farmers) was sustained and what changes happened through various records including the history of lives and experiences of nongak performers, their personal diaries, village journals, village self-governing document, village minutes, etc. Using these records, this study elucidated the continuance and changing spectrum of nongak inherited in Sopo-ri, Jindo-gun, Jeolanam-do, the factors of change in and creation of tradition by village nongak, and the phenomenon of geolgul-jinbeomnon becoming permanent in Sopo-geolgun-nongak due to its designation as an cultural asset. This study also examined the identity of geolgun in Sopo-geolgun-nongak and how this designation became permanent. The composition of percussionists in the current Sopo-geolgun-nongak, such as the Jipsa, Mudong, Jorijung, Posu, Changbu, and Nongi(Nongu), or the performances of Geolgul-jinbeomnon had ben reconstructed since the mid-1980s based on the nongak document called Seosan-daesa-jinbeop-gungo from Haenam and other similar records. This was verified in this study through the changes in organizational composition of nongak bands since the 1960s. Nongak passed down in Sopo-ri was variously called as Sopo-ri Reconstruction Youth Society Nongak, Jindo Nongak, Geolgun Nongak, and Sopo-geolgun-nongak, etc. This study focused on examining the processes of Jindo Nongak Preservation Village formation and the designation of Sopo-geolgun-nongak as an intangible cultural asset in Jeolanam-do.