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 study examines Susan Leigh Foster's methodology of historiography and explores its significance, which was introduced to Korea in the early 2000s. Even though her theory is rooted in post-structuralist thinking, no research has been conducted on its philosophical implications. Foster emphasizes the methodology of historiography, but there are few examples of its actual application in dance history. This researcher tries to understand the logic underlying her theory of historiography by analyzing the philosophical concepts contained in Foster's Choreographing History. We examined how Foster incorporated the main concepts and characteristics of post-structuralist thinking into her historiography, and in what philosophical context her concept of the body emerged. The analysis of Choreographing History illustrates how the theories of humanities can be integrated into dance research to develop a new discourse. Moreover, various practical studies can be conducted based on her theory, which mainly focuses on methodologies. Foster's new body concept is also a very interesting topic in dance studies. Practicing bodies with agency can greatly expand their horizons and possibilities and can be a rich source of dance research. This study is intended to lay the foundation for future research in this area.

The purpose of this study is to gain a deeper understandingt of Bae Gu-ja by reconstructing her early work The Death of Swan. First, the contents behind the records of the era were identified through the examination of photo materials and newspaper articles in which Bae Gu-ja appeared. Then, various data related to Bae Gu-ja were collected in order to gain a more comprehensive understanding of the world of her dance. Lastly, Bae Gu-ja’s The Death of Swan was reconstructed to induce an inner experience, felt in the body. This is a process of empathizing with what Bae Gu-ja must have felt while performing The Death of Swan.

The Death of Swan is an artwork in which Bae Gu-ja attempted to project herself and to express her inner self through a dying swan. While reconstructing and rewriting the performance, it was possible to reinterpret it and empathize with Bae Gu-ja’s experience. Furthermore, it also allows for the possibility of various interpretations of history, enabling a more open discussion. The objective of this study is to contribute to the Korean dance history description method by conducting a new type of historical research, and to highlight the need to conduct more diverse research.

Compare to the other arts forms, dance as an intangible performing arts foam is restricted in records. Until the photo and video materials were actively utilized for recording dance, the dance was only remained in memories of dancers and audience members who experienced the dance site of those times. Recently dance oral history is beginning to apply for writing new dance history. While dance oral history offers to dancers to testify their own histories, it makes dance people to participate in writing dance history. Thus, oral history scripts on dance that is dance peoples’ oral texts can expend horizon of dance history’s writing. In present, historical resources on the 20th century’s Korean dance, particularly in the period of Korean Liberation (1945~1948) and the period of Korea War (1950~1953) are poor as if these periods are vacuity. Even if some documents related to these periods are existed, those contents are the event, the dancer, the dance work, the dance criticism, and dance organization which are limited evidence of these periods. On the other hands, oral history scripts on dance related to these periods provide vivid historical evidences on cultural environments and real situations of dance production and dancers. Because those oral texts were created by voices of senior dancers who lived in these periods. Futhermore, the scripts clue in on anthological, sociological, and psychological resources related to the dancer or dance trends in these two periods. Therefore, applications of oral history scripts on dance enable to write on deeper historical themes, such as the dancer’s identity, changes of aesthetics, trends of dance creation, dance policies, and dance agencies in the 20th century. The purpose of this study is how to overcoming limitations of writing on the 20th century’s Korean dance history through the oral history scripts on dance. First of all, the researcher analyzed two dance history books, Hangguk Hyeondae Yesulsa Daegye I [An Outline of Arts History of the Korean Modern Period] and Woori Muyong Baeknyeon [100 Years of Korean Dance]. Then, the vacancy and the errs related to the period of Korean Liberation and the period of Korea War that discovered in those two books were made up with the texts of oral history on dance that completed in 2008 and 2009 by the Arts Resource Center of the Arts Council Korea. In result, this study has attempt to open new horizon for writing on history of the 20th century’s Korean dance. Even though this study first attempts to apply the oral history text of senior dancers for writing dance history, the trail is limited to supplying new historical facts. That is, the study could not developed to writing new dance history because previous resources were so poverty than the researcher had expected. In the future the oral history scripts would aid not only dance history researchers to write alternative dance history, but also to discover counter memories compare to the previous dance history books.

This study is an analysis of dance critics' way of writing to make the general public appropriate images. Thus, this study aims to identify the images in writings inferred by readers; this study investigates the factors of aesthetic works by critics who compose images in their writings. In this study, the inference process of images for the interpretation and analysis of works was described by investigating the factors appearing in dance critics' writings on their impression of the works. By describing a critic's way of writing, which is shown in the critique on the Korean National Contemporary Dance Company's , the components and meaning of image inference in the work were examined. The study found that the trends in the form of the aesthetic work from critics' appreciation could be summarized as generalization and the universalization. It could be seen that the generalization acted as the basis of a basic judgement for the quality of the work, which appeared through understanding the subject and themes of the work. The universalization presented image refinement of inference for the analysis with technical requirements for aesthetic characteristics, form, social and philosophical structure, thoughts and ideas, and artistry. The critics writing on works has an open attitude to possess a convergent direction of interpretation as a progressive form against the abstractness appearing in the art of human society. However, it could be seen that the functional descriptions of artworks were presented to readers as as an association process of image inference in a censored form (which is generalization and universalization) in order to identify human society as cultural, social, and historical forms.

This study aims to address the issues of dance and national borders focusing on the impact of political and ideological border movements on art and culture. First, I examine the concepts of deterritorialization and reterritorialization and discuss their implications on art and culture. Next, I review the case of German Reunification, to draw parallels with its experience with division and reunification to Korean dance history. Here, I explore the historiography of East German art that faded due to the predominance of the West after reunification. I suggest that it is important to ask questions about the foundation on which I stand in order not to otherize myself and others. A balanced perspective shall be sought to embrace the complexity of personal history that an official narrative may miss. I finally propose to have a broad view that goes beyond not only the borders of division but also the borders of unification.