The study attempted to describe the institutional transition of dance education which had occured in the 1960, 70s’ Korea. Using Fairclough’s critical discourse analysis method, it approached the transitional process as a discursive struggles between two types of institution: private dance schools and dance departments in universities. Though both appeared in the modern era, the later was assumed as a modernized institution, but the former was not. The dance department in university was regarded as modern, but at the same time it claimed the ruling ideology, modernization. The analysis of the discourse of the time identified five thematic discourses. Among these, two discourses, ‘well trained dancers’ and ‘freedom for dance creation’ were for the private dance schools; and three discourses, ‘obtainment of degrees and certifications’, ‘specialized and systemic curriculum’and ‘sustainable and reasonal reproducing system in the field of dance as an art’ were for the universities’ dance departments.
This paper explores researches and their meanings of creativity in dance studies of South Korea, drawing on literature reviews and meta-analysis. Thirty-five studies of creativity, published in journals listed in Korea Citation Index, are categorized into eight topics: concepts and elements of creativity; development of the examination of dance creativity; creativity improvement through dance education and activity; application of philosophical or educational theories of creativity into dance; general discussion of educational values of dance and creativity improvement; relation between dance educators’ teaching methods and learners’ creativity; neuro-cognitive studies of dancers’ creativity; and sociological studies of creativity. Most of the researches discuss creativity in dance education, drawing on statistics and empirical data analysis. Neuro-cognitive or sociological approaches to creativity were done in the 2010s. Considering rapid changes of socio-cultural environments, it is necessary to develop new ways of revealing multiplicity of dance creativity and to improve rigid educational system of dance.
The purpose of this study was to examine the normality of the Dance Imagery Basics Survey items, and to investigate the dance imagery difference according to dance level and the effects of dance major on dance imagery. The subjects of the study included 149 dancers who were three different dance levels; leisure level, intermediate level, and professional level. According to the descriptive statistical analysis of the DIBS scale, all 23 items showed statistically stable structure, and hence were confirmed to be suitable. Study results showed that there were significant differences in the seven sub-levels of imagery according to the dancers’ dance levels. As the effects of dance major on dance imagery was examined, it was found that dance imagery was significantly influenced by performance period and complexity among dance major sub-factors. The value of this study will would help the dancers to understand the dancing spirit and internalize it and to internalize it in the dance environment, thereby helping to improve the dancer's dancing quality.
The Lockers, a locking group having been active in 1970s, had a great influence on a genre called “Street Dance”. The group had established the distinguishing characteristics of street dance and contributed the popularization of the genre. These achievements provide the ground for feasibility of historical study on the development of the group and street dance. In this respect, this study provides the concepts of street dance and locking, the history of The Lockers and its major performances, which had not been previously covered on literature and Internet materials. The history had been complemented with interviews with its members, including its founder Don “Campbellock” Campbell, original dancers and their succeeding members. On the basis of these, the study explains the influence on street dance. This study has importance in a sense that it attempts a theoretical approach on locking genre which has not been dealt with in earlier studies.
Today the performances in the contemporary dance have taken the combined forms of creation transcending the boundary of arts, featuring the encounter among, convergence of and acceptance of various cultures and different arts. These external features of the contemporary dance have often shaken the codes that the audiences have expected. This study aims to explore how contemporary dance presents new aesthetic concepts and stylistic characteristics of expression by examining three performing arts Soapera, Eskaton and En route introduced through Seoul Performing Arts Festival 2012. It is the mode and major feature of the artistic expression in the 21st century to break the mould of the artistic categories and to transcend the boundaries, and the contemporary dance cannot be an exception. The change of contemporary dance into convergence art through acceptance of the other arts, this research studies the aesthetic changes and stylistic characteristics of contemporary dance.
The purpose of this study is to consider the influence of creative dance on the sociality of teenagers in a community child center through the program constructed with the characteristic of creative-based dance and art education. This study has implemented dance creation program to 30 children in the ‘K’ community child center : 15 in participation group and 15 in controlled group respectively. The result of this study has shown that the dance creation program gave positive effect to the teenagers in the community child center and social difference. The implication of this study can be applied to other educational sites. Also this study will trigger the interest of creative education of isolated children in lower income group.
The purpose of this study is to analyze the profit model of performing arts based on cost volume profit approach. The musical Wicked and the play Equus showed BEP (Break Even Point weeks 20 and 9 respectively based on weekly contribution margin 700K USD and 125K USD. The running weeks are much more than BEP weeks. NYCB’s profit model showed a better result than Equus with BEP weeks 5 and 422K USD weekly contributed margin. In conclusion, three types of performing art showed the profit model enough to be commercialized. However, NYCB has unique characteristics of public value. Hence, performing dance such as ballet should have two-tracks approaches–non profit organization and profit organization.