This study examines the relationships between Rudolf von Laban and Nazi of German from 1933 to 1937. This study began to answer the question that ‘Did Laban have any relationship with Nazi?’. The result is as follows. Laban joined the Nazi and cooperated, propaganda in 1930 and rewarded with social status, economical support, and got a chance to performance, festivals, lectures organized by Nazi. The suggestions based on the results of this study are as follows. First, It is need to a new 'historical understandings'about Laban's relationship with Nazi and processing of refuge is needed. He joined the Nazi,assisted in their propaganda activities, and received salary from German Empire Culture Center. Also, he remained a propaganda official in late 1937. Second, There was two perspectives about the characteristic of relationship between Laban and Nazi: voluntary and coercive. Laban showed a little ambiguous attitude to Nazi in regards to his arts and propaganda's loyalty. Third, we need various perspectives about the relationships of Laban and Nazi and further study of effect of Laban's art and art activities.

The purpose of this study is to conduct a spatial analysis of movement in Taepyeongmu using Rudolf von Laban's theory of Space Harmony. Laban emphasizes that 'space' can grasp the nature of movement and that while Eastern and Western perspectives may differ, it can be dealt with in terms of the universality of dance. In this study, I analyse Teobeolim(터벌림, widening ground) and Olimchae(올림채, uplift). The results of the spatiality of Taepyeongmu are as follows. The major Crystalline forms are analyzed as icosahedrons in Teobeolim and as cubes in Olimchae. The results of the Effort analysis shows that Taepyeongmu displayed the Bound Flow of the lower body, while the spraying of the Hansam caused Light Weight in Teobeolim and Free Flow of the upper body is utilized elastically in Olimchae. The use of the effort is found not to be simple and uniform, but to occur in a variety of complex movements. Research of Taepyeongmu’s spatiality is not limited only in the form of perfect skill and performance that focus on the transfer of skills, but it can also provide a theoretical basis for an analysis of Korean dance, allowing more various interpretations and an application of more efficient and clear movements.