The purpose of this paper is to examine how nationalism has been operated and emerged in the process of establishing the National Theater of Korea and Sejong Center for the Performing Arts, National Gugak Center, and Seoul Arts Center. I analyze the records about the construction of the theaters from the viewpoint of nationalism. Also I examine how the nationalistic view had been expressed architecturally and how the characteristics were revealed in the performances. The history of the construction of the theaters was entirely led by the state during the 3rd, 4th and 5th republics. The 3rd, 4th and 5th republics, all of which had been ruled by undemocratic regimes, emphasized nationalism in order to compensate their lack of legitimacy. The ‘nation’ has worked as a very effective concept to unite the whole people into a single identity, and traditional culture as well as art have been used as the most effective means of raising national pride. As such, the construction of the theaters as an infrastructure for expanding traditional performing arts was essential, and it was actively promoted in this background. At the height of this flow, which began in the 1960s, there was the 1988 Seoul Olympic Games.

The purpose of this study is to investigate the origin, types, and characteristics of dancing in the colleges rally scene before and after the democratization uprising in 1987. As its methodology, this research investigates previous researches, related data, and conducted interviews with related as well as reflecting on my own experience. As a result, the creative Talchoom movement that took place in the 1980s has developed into the dance and pungmool that was at the center of the artistic means to grasp the ideological and simultaneous will of the young students. In the rallies and demonstrations of the 80s and 90s, there were arts propaganda group in each university'. These dances with easy and simple movements were enjoyed by many and was used as a medium to express the will and spirit of youth. The dance was expressed collectively as the structure of cohesion and eruption type, and the four-beat dance made it easy for everyone to share with one another, and flag dance was often used as an inflammatory device. The dances of the university in the 80s and 90s was based on amateurism and functioned as a social activist dance that expressed the will to resist.

This study is aims to illuminate democratic tendency in Post-modern dance during the Postwar Era, especially focused on its political and social aspects. In the 20th century, especially during the sixties, the whole art of America under the counter-cultural environment was consisted mainly of radical idea and emphasis on the sprit of experiment. Intrigued by the opportunity that improvisation afforded to invoke an entirely unanticipated organization of things and events, experimental groups throughout the 1960s and the 1970s(Post-modern dance era) borrowed from jazz and its principles for composing in performance. To illuminate democratic inclination with improvisation shown in Post-modern dance, such as San Francisco Dancers Workshop, Judson Dance Theater, New York Chamber Dance Group, Workgroup, Grand Union, Contact Improvisation group. Post-modern dance era, dance groups allowed performers to share in a process of making work collectively, and many times this process extended to include the audience as well. At the same time that Post-modern groups appropriated for Asian and African identity, sex role to democratic tendency. As a result, in these group's dance, dancers applied improvisation to represent democratic thoughts and become aware of racial and sexual identity as well as the value of human body. Post-modern dance become more and more extended their ideas techniques and democratic inclination.

Past English-language scholarship on Choe Seung-hui has focused on her world tour of 1938-1940 and her work in Japan and Japanese-occupied Korea prior to 1945. Choe’s contributions to dance creation in the socialist world have been largely ignored. This essay expands on the existing scholarship by using Chinese-language source materials to examine Choe’s career in China and its implications for the connections between the pre- and post-1945 periods of Choe’s career. This essay documents three important parts of Choe’s work in China: her development of China-themed choreography, her adaptation of new dance forms from Chinese opera, and her training of the first generation of Chinese dance professionals. I argue that Choe’s work in China was continuous despite changes in political context. The project that she began in the 1940s as part of the pan-Asianist project of Oriental Dance later transformed by the 1950s into Chinese classical dance under socialist internationalism.

Based on Pierre Bourdieu's theory of the field of cultural production, this paper focuses on historicity in the field of ballet in Korean Society. Using quantitative content analysis of major daily newspapers, this paper intends to examine the composition of artists' occupational groups and professional ballet careers, as a measure of autonomy in the field of ballet in Korean society. This study found that 1) since the 1980s, choreographers of ballet have attracted more attention than artists in other genres, and 2) while educational capitals is still a strong element, the autonomous hierarchy of a professional ballet career is emerging in the field of ballet in Korean society. In conclusion, it may be said that the field of ballet Korean society has strengthened in autonomy.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

This study aims at considering on Japanese postmodern dance, by researching Hijikata Tatsumi’s Ankoku Butoh, Dance of Darkness, which is known for most famous avant-garde dance of 1950s in Japan. Hijikata’s Butoh, started with Kinjiki in 1959, was an entirely new dance form having different qualities of expression from the other dances such as classic ballet and modern dance at that time of Japan. Mostly showing the experimental attempt on the stage by ordinary movement from the late 1950s to the early 1960s, Hijikata changed his performing style from his work in 1968, Hijikata Tatsumi and Japanese – Rebellion of Body. That means that Hijikata tried to make his own movement method. This study focuses on ‘Butoh notation’ as the principal reason of changing movement style of Butoh. By analyzing the existence of Butoh notations and contents of them, the research would figure out the actual relation between notation and creation of a new style.

Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.

Dutbeki is a local dance which has been transmitted by customs in Kyongsang area since ancient times. This is a formless dance that each of the villagers enjoyed with their own colors at seasonal farming events in the past. Today, however, Dutbeki is disappearing with a rapidly changing social environment. In this situation, the researcher is going to study the origin and present condition of Dutbeki, local dance of Ulsan area, to protect and transmit it to the future. The method is as follows. Regarding the origin of Ulsan Dutbeki, the researcher reviewed the records of life from the past in Ulsan area. As for the current status of transmission, the current status of the natural handover of Dutbeki in Ulsan area and the current status of it with the participation of the researcher, a native of Ulsan, are discussed. The folklorist Jung Sangbark has established Dutbeki, which had been called as a generic name, as a local intangible culture by attaching a local name to it. As a result, Dutbeki in Ulsan area was designated as Ulsan Dutbeki and the value as an intangible cultural heritage was obtained. In this context, this study has made an accomplishment of confirming the identity of the intangible cultural heritage in Ulsan by establishing the origin of Ulsan Dutbeki and examining the current status of its inheritance.