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Dance is the mind-body integral activities and has values of wellness education. The definition of Dance wellness is associated with dance education and understanding dance itself. Dance is integral experience of being through kinesthetic sense. The main focuses of this paper are: first, explanation of the concept of dance wellness and the study results of dance wellness. Second, understanding of the direction of dance wellness applications. These are related to wellness for dancers and wellness dance for human development. Finally, This paper emphasizes that the common ground of dance activities and educational direction for dance wellness

This essay explores song culture in North Korea, and its development from the early years of North Korean statehood to the late 2010s. Songs routinely take on great importance in totalitarian states because lyrics can project meaning with clarity, and North Korea is no exception. In North Korea, songs reinforce the class state, elevate the paramount leadership, claim authority by promoting historical facts, myths and legends, and reflect the “everyday extraordinary” that has been deemed fundamental to collective and institutional life. Songs comply with Soviet socialist realism but also North Korea’s “seed theory,” embedding ideology within standardized stylistic forms. They comply with a literary art theory developed as part of the artistic implications of the state’s all-embracing “self reliance” philosophy of juche. From “revolutionary songs” and later “revolutionary operas” that retell state foundations and underpin the authority of the state and its leaders to authorized pop songs that have become the equivalent of newspaper editorials, songs punctuate daily life. They have become a totalizing art form, both because they are endlessly broadcast across the country to fill public and private spaces, but also because they have been made participatory. Hence, in the theatre that is North Korea, people continuously hear and continuously perform songs, watching, listening, singing, dancing, and marching them. This essay identifies stylistic changes that mark the eras of the three dynastic leaders, most recently with groups such as Moranbong, but argues that the fundamentals of song culture, and the mechanics of song creation, control and promotion, remain largely unchanged.

It is widely accepted in contemporary Western* 9) ethnomusicological scholarship that, as part of fieldwork, researchers will themselves learn the genres they are studying, often not just to the level of ‘bi-musicality’ (Hood 1960) but to the level of professional performance (Baily 2001). In contrast, Korean musical scholarship, while especially strong in musicological analysis and historical musicology, has only received limited impact from Western traditions of ethnomusicological research (Park Mikyung 2013: 25). In examining the different scholarly traditions encountered in my research on Korean sung storytelling form pansori, I postulate that it is through the practical learning and performance of a musical genre that the gap between different research approaches can be breached. By showing demonstrable skill and in-depth knowledge of a genre in terms acceptable to local music scholars, an ‘outsider’ scholar can build a path to engage with and thus build bridges between academic traditions that have so far mostly developed independently, fostering the potential for constructive future debate.

It is a known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.

This article is twofold: it explores the integration of transcultural music within American schools and specifically identifies the rationale and method to incorporate samulnori, a Korean percussion genre, into Western classrooms.* 6) Historically, many American music programs centered around the Western canon. However, as multiculturalism continues to foster, providing students with a global perspective of music promotes cultural and social awareness and contributes to developing musical skills not easily attainable from Western repertoire. Thus, this paper advocates for transcultural music education and discusses how to overcome challenges associated with performing global music in Western classrooms. Recognizing the benefits of world music pedagogy, the paper then explores how samulnori,** 7) a genre not frequently played in Western schools, can be adapted for the new context. Rationales for implementing the