This is an essay about restore of court dance by searching at activiies of Kim Cheon-heung, a great master of Korean traditional dance and music and a silent film made in the 1931. To the research, Jeongjae; traditional court dance performed by Kim and the restoration procedure are reviewed. Also the contents and utilization values of which offered appropriateness and confidence of Kim's Jeongjae project to audience. As a result, it was found that core of the Jeongjae restoration was Kim Cheon-heung, not documents of Joseon Dynasty, record paintings; Uigwe[ 儀軌 ] and Holgi[ 笏記 ]. This is because Kim was existence figure who served as a successor of Jeongjae since late Joseon Dynasty containing modern court music institute, Yiwangjik Aakpu. has the existence of justification for the very reason that Kim is entitled to restore Jeongjae. The restoration of the dance is divided into three parts; first is steps to expand repertoire of Jeongjae and restore dancing, second is steps to restore each processes of court ritual, and last is steps to develop new creative dance drama by using Jeongjae. In the third case, historical documents, paintings and film such as are paalied as a materials of creation. Also, in the restoration process, it was suggested that the beginning of the restoration work was made through historical literature, such Uigwe[ 儀軌 ] and Holgi[ 笏記 ], but eventually completed by creation. There is a limit to the writing or painting of a series of movements with continuous movements. It is only possible to create a gap between the cracks in this discontinuity, and Kim used the dance he had learned through his lifetime as a tool for creativity. Now we need to concentrate more on the creative exploitation of dance with Kim's achievements. First, for the future development of dance, the importance of dance and cultural sharing of dance worlds is paramount. Second, the dance majors should be systematically educated by Jeongjae as well as in elementary, middle and high schools. Lastly, Jeongjae should be used as a free ingredient rather than as part of a rigid court culture. I expect to study in neighboring areas such as dance academia, classical music, aesthetics, and theater in the near future.

The research on "the data status and data use case of Simso Kim cheon-heung" started from the importance that the Kim Cheon-Heung Collection can be seen not only as an individual archive, but also as a manual of an extended artistic record and utilization method of performing arts. This study has a second purpose of sharing information to be a mediator of researches on Kim Cheonheung by grasping the current status of the materials and the cases that have been utilized. As a research method, I focus on the activities of the Korea Dance Resource Center, which I have participated in the past, and analyze event materials (event plan, programs, materials, books, etc.) Related site search. In addition, I analyze the case of reconstruction of Cheoyongrang. I expect that this study could be seen as a reference in the creation or reproduction of archiving.

This study compared Jeongjaemudo Holgi (musical scripts) with video materials of “Mugo” (group dance from the Goryeo period) and “JangsaengboyeonJimu” (court music from the Joseon period) performed in the 1980s at ‘Traditional Dance Presentation’ of National Gugak Center following Simso Kim Cheon-heung’s restoration of them. By doing so, the study sought to learn how he had restored the court dances. As a result, the study found following characteristics of “Mugo” and “JangsaengboyeonJimu”. First, the greetings were added both in the beginning and the end of the performance. Second, the songs of the dancers were simplified. Third, there was no big change in dance formation. Fourth, there were omissions or additions in the procedure of the dance. When he restored court dance in the 1980s, the restoration was built on what he learned from Music Academy of the Joseon Dynasty and a number of materials including Akji (music book) of Goryeosa, that is lustrated Text on Traditional Music and Holgi. His restoration of the court dances in the 1980s was affected by periodical circumstances and creative experiences during the 1950s. This study concluded that the court dances he restored was the extension of tradition and literature interpretation. This study identified his spirit from his restoration which was completed based on experience and aesthetic attitude. Rather than sticking to the original literature, he showed the essence of the court dances as a new form of art by putting it on stage. He desired to turn the court dance into a contemporary proscenium stage art and to elevate it to the modern art form. As such, his restoration of the court dances in the 1980s was a process which he embraced the change of the period. Thus, Kim Cheon-heung can be considered as an artist who demonstrated artistic capability encompassing tradition.

Joseon Muak is a black-and-white silent film produced on June 29, 1931. This film was made in the Japanese Government General of Korea. This was made under the name of King Yeongchin. It was made to be sent to the royal family in Tokyo. This study starts from the question of what the values and limitations of Joseon Muak are. This article applies a cultural perspective on the Joseon Muak. Seven dances were recorded on the film. The seven dance include Bongraeui, Bosangmu, Mugo, Jangsaeng boyongimu, Pogurak, Cheongmu, and Hayongryongmu. All these dances were performed by boys called mudong. The value of this the film is as follows. First, there is the material value the oldest image material of Jeongjae. Second, it shows a Japanese occupation version, hence holding the value in its content. Third, there is a transferable value in determining the trace and change. Fourth, it is aesthetically worthwhile to experience the aesthetic achievement. It has the following limitations. First of all, there is a limit of silent films that do not feature music. There also is the ultimate limitation of being built in a very abbreviated form.

In this study, I examined how the succession and modernization of tradition has been emphasized through the articles related to dance in North Korea’s comprehensive art magazine Joseon Art focusing on its traditionality and modernity. The research method was centered on literature analysis and image analysis. In the literature, from the first issue of 1956 to the first of June 2000, 344 out of 468 articles were reviewed and analyzed. The analysis revealed that the majority of articles has focused on the discussion on the issue of inheriting and developing the people's dance heritage among the anti - revolutionary dance heritage and ethnic classical dance heritage. Based on socialist realism as a principle in succession and development, discourses in the articles have emphasized revolution in contents and have tried to create dance based on national characteristics in terms of form. I can see that the articles have strived to present the dance as a means of educating people’s ideology. The contents discussed in the Joseon Art from the 1950s to the 1970s were found to be further developed in the later period. North Korea has developed dance that promote the superiority of the Korean people based on Juche ideology. It was found that the principles related to dance decided before the 1980’s have continued in the “invariant law”.

This study focuses on strategies to promote new content based on storytelling with the case of in particular in order to make dance more mainstream. As the importance of intangible assets such as knowledge, creativity and information emerged in recent years, stories have been presented as a basic element of business to be commercialized. The story of Cheoyong is a leading example of where a narrative work that is latent in the subconscious of the public has been approached from various angles. To shed light on the artistic value of dance that uses the story of Cheoyong as its theme, this study reviews the contemporary patterns in which the story of Cheoyong has been adapted to dance performances. Moreover, , one of the major repertoires of the world’s leading ballet companies and one of the three major classical ballet works, is reviewed in terms of how dance content can be brought into the consciousness of mainstream culture. has also captured the theme from folklore of the West, just as in similar cases in the East. The storyline has become latent in the subconscious of the public that drives the art work, which then affected works in a wide array of art fields. Lastly, to review the universal value, the narrative structures of and were compared in terms of how stories can lead to a chain of reminders, thus shedding light on the trends in dance performe art.

This study attempted to examine teacher-dancer interaction, basic psychological needs and commitment to understand and provide knowledge in learning methods of university student majoring dance. In total, 337 students were recruited from the seoul and gyeonggi regional university student majoring dance. Statistical analyses(descriptive statistics, reliability test, correlations analysis, confirmatory factor analysis, structural equation model) were conducted using PASW 21.0, AMOS 18.0. Results revealed that teacher-dancer interaction positively predicted passion, as well as commitment. Basic psychological needs positively predicted commitment. In addition, basic psychological needs was partially mediated by teacher-dancer interaction on commitment in university student majoring dance.

This study seeks to compare expression media between Kim Baek-bong’s Korean fan dance, a traditional dance designated as an intangible cultural asset of Korea and Kagyadifu (かぎやで風), a fan dance of Okinawa in Japan. The study examines hand motions of the two traditional dances. The author used an index of KAMAKURA as an external analytical method, while focusing on interviews and oral records to understand inherent characteristics. The ethnic identities of the expression media were identified as follows. First, fan functioned commonly by physical awareness and recognition of the body. The fans of the two countries did not directly express objects such as letters, but tried to describe the shape of the entire object as an extended part of the body. Second, the fans of Korea and Japan were differentiated as abstract technique in the process where sensual wave was reflected in the body. Ryukyu dance did not express the lyrics in a graphical or realistic way as in the case of sign language. The expression of fans was not verbal. Fans made a symbolic display of yearning that the region - the island - had toward outside world. In Korea, more than 30% of group dance figuratively reveals intention of original authors or nature. This is an indication that Korea's new art dance was affected by modern dance of the modern times. Third, fans had multidimensional contexts in showing internal feelings. Korean dance depicts nature or intention of authors, and express inner feelings through various rhythms. Ryukyu dance expresses relations between a fan and a dancer abstractly by containing a joyful feeling of the performer, rather than venting the feelings. The comparison of intangible cultural properties of both countries could reveal that they harnessed the same expression media but showed difference in their unique national emotion.