This study, drawing on Rancière's concept of the 'pensive image' examines the deconstruction of the medial boundaries of dance and the sensory limitations of life as depicted in Minamimura's Scored in Silence. The ‘pensive image’ does not focus on one side of the dichotomy, but rather on creating a new arrangement by connecting the incompatible elements in a new way. Referring to the concept of ‘pensive image’, this study examins the meaning of Minamimura's one-person performance, Scored in Silence, by dividing it into ‘spoken visual sound’ and ‘haptic vibration’. I suggest that the process of expressing the narrative through the deaf performer in the work mixes the identities of fine art media and opens up the possibility of new interpretation through the individual senses of the audience.

This study examines the role and relationship of moving image among various art genres collaborating on dance performances. Six works by the Buripuri Dance Company, a private organization from 2004 to 2015, and 12 works by the Gangwon Provincial Dance Company, a professional organization, from 2017 to 2022, were analyzed 41 moving image clips were used in 18 dance performances. In this study, we collect and screen capture shots of 41 moving image clips out of 18 dance performace. We presented 12 expression methods that can distinguish the purpose and use cases of moving images from the perspective of stages, dancers, and audiences based on the contents commonly presented in six previous studies for work analysis. The 12 expression methods can distinguish the purpose and characteristics of the moving images for the dance performance. As a result, the most important reference point in the relationship between dance performances and Moving Images revealed in this study is the choreographer's intention. In addition, close collaboration between choreographers and video designers can not only improve the work's workability but also increase the understanding and immersion of the work from the audience's view. Therefore, this study is a records 20 years of choreographers and Moving image designers to create dance performances with high workmanship.

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.

The purpose of this thesis is for extracting and distributing literal imagery about dance movements in poems written in Tang dynasty. As a result, literal imagery about dance movements were mostly extracted from blowing sleeves, slow and fast spinning movements, and various dancing movements. Furthermore, there are literary rhetorics of beautiful figures, faces, and slender waists of dancers. Adn dancing movements of Geon-Mu were described as dynamic and speediness; while as dancing movements belonged to Yeon-Mu were depicted as soft, lyrical, and elegant. Those descriptive words for dance in Tang dynasty’s poems were highly artistic language while it could be compare to the literal shaping of dance. This thesis analyzed literary phrases of dance movements in Tang dynasty’s poems; so that how the people appreciated substantive esthetics in music and dance, not for philosophy and pragmatic theory.

The purpose of this study is to analyze the images of dancing women in the Korean novels from the 1910s to the 1950s and to investigate the relevant social discourse and cultural context at that time. This study focuses on the Korean novels as the research materials and the media to reflect the people’s awareness and social aspects of the times. The 6 novels selected through the material collecting process over 3 sessions are 『Moojeong』, 『Bokdeokbang』, 『Mooseong-gyeokja』, 『Seoul』, 『Sawhasan』, 『Silbimyeong』. The substantive characteristics and relational characteristics of dancing women appeared in the novels are arranged by type through text analysis. Their social implications are also explored. As a result, the images of dancing women appeared in the Korean novels are as follows. First, as the substantive characteristics of dancing women in the Korean novels, the number of dancing women appeared in the 6 novels is total 8. Their occupations and social activities are found to be Gisaengs, dancers, the students to prepare for being dancers. Second, as the relational characteristics of dancing women in the Korean novels, the relationships between main characters and dancing women are found to be classified into sexual relations and familiar relations. Third, the social implications of dancing women in the Korean novels are deducted from the opposite social awareness on Gisaeng and modern-girl dancer and the demands of the times on dancing women. It is expected that dance culture research would be enhanced and the close relationship between women and dance would be investigated if the follow-up studies to analyze the contemporary novels from the 1960s to the 2000s with the identical standards to this study are conducted. In addition, it is also expected that this study can contribute to the research on the Korean modern dance culture.

This study explores the dance activities of Choi Seung-hee in Japan, focusing on her image strategies around 1935. Analysis was conducted on the Sai Shoki Pamphlet (Volumes 1-3), a pictorial magazine produced for the dancer. Particularly, this study deals with the period following her second trip to Japan when she proved her potential as a new creative dancer. 1933-1937 was the high point in her career, culminating in her trip to the US. In particular, her dance activities right after her trip to Japan marked a critical period in her dance career in Japan. That is when Sai Shoki Pamphlet was published. The pictorial magazine includes a detailed record of her dance performances for two years from September 1934 to November 1936. Her full-fledged dance activities began in September 1934 with the 1st New Dance Work performance of Choi Seung-hee. Sai Shoki Pamphlet was created to promote Choi Seung-hee only. It includes critiques and reviews by Japanese artists and cultural professionals regarding her dance. It also contains product ads promoted by Choi Seung-hee and her dance photos. The photos, product ads, and cover design are explored in this study, to understand her image strategy at that time. Review of Sai Shoki Pamphlet exploring her dance activities as a Korean dancer is crucial for identifying her image. This study sheds light on her activities in Japan from various angles ranging from the planning objectives to the production process and effects of the magazine. The findings reveal all her activities in Japan during the 1930s through a more detailed empirical study.

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 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.