Earticle

This research is animated by a curiosity about the Korean court dance space and its direction. Before the modern period, the Korean court dancers faced the North. According to the concept of The Bright Hall (mingtang 明堂) or Hall of Distinction, the king has to located in the North and to face towards the South. The meaning of the face towards the South (nanmian 南面) is “the pursuit of the brightness (xiangming 嚮明)” and ultimately to be “Effortless action (wuwei 無爲)” which was the supreme political ideology in East Asia. In Korea, this idea has been applied from the Three Kingdoms period. However, during the Japanese colonial period, the idea was ignored due to the Japanese officers’ unawareness. Today, the idea has still remained unrecognized in the Korean court dance performance.

This paper proposed multiple definitions of improvisation in dance practices; three different forms of improvisation (open, contact, and structured), as well as five different modes of improvisation. It aimed to address different uses of improvisation for different purposes in dance. In particular, among Conroy’s five different modes, ‘compositional mode’ was focused to exposure the significant role of visual stimuli in choreographing dance improvisation. As concerned a theoretical framework, I brought Henri Bergson’s “framing perception” and Gabrella Giannachi’s discussion in order to contextualize the process of transferring visual stimuli into the present improvised dance. In terms of artistic contexts, three key choreographers, including William Forsythe, Deborah Hay, and Wally Cardona, were investigated in this study. It offered to analyze how a practical field of dance within improvisation explores visual stimuli as the present environment.

The purpose of this study was to investigate the present research-oriented circumstances of dance injury in the scholastic field. 64 research papers were collected, investigated the definitions in each papers, and classified with parts of dance injury categories. The definition of dance injury was notated inconsistently in the collected literatures. Also the dance injuries which were studied in the collected papers tend to focus on lower extremity injuries rather than upper extremities or torso area. In conclusion, the definition of dance injury needs to be clarified with experts in dance major, sports medicine and general medical parts. In addition, the researchers as a scholar in dance medicine field need to expand their focus on dance injury to various body composition.

The purpose of this study was to explore the direction of the future research focusing on dance science. Thus, the characteristics of each industrial revolution were examined and the changes in the dance industry were analyzed according to the industrial revolution. The academic value of dance science(dance mechanics, anatomy, kinesiology, psychology, etc.) is the prevention of injury, the improvement of skill, and the optimization of performance. This research suggests “practicing interdisciplinary education” for educational use, and “evolution of dance supplies” as a way to promote practicality. First, it will extract key ideas of dance science through educational utilization and make them feasible with technology. Second, practical activation will promote shared growth with various scientific areas. Thus, this will deepen the study of the whole area of dance studies and provide scientific basis for the various issues discussed in the dance world.

The purpose of this study is to find a way to achieve the identity and originality of performance in dance. The technical device G. McFee uses is a distinction between types and tokens. This type/token language provides us with a clear way of talking about works that are multiples. The way in which performances relate to works is through ‘interpretation.’ The performer's interpretation achieves the identity and originality of the performance by limiting the aspect of the performance and associating the token with the type.