This paper aims to explore therapeutic approaches in the three cases of Fran J. Levy`s dance/movement therapy (DMT). In addition to verbal interactions, Levy`s DMT utilizing the elements of dance according to the client`s characteristics, showed the psychotherapeutic processes of 'exploring emotions → recognizing emotions · needs → expressing emotions · needs → re-experiencing em otions → cognitive insight` in complex ways. Unlike previous studies, this paper provides the im portance and applicable ways of her unstructured DMT.

The purpose of the study is to introduce the optimal strategies to enhance ballet dancers` attention to the internal physical perception with the som atic modalities. The methodology for the study is to review not only the related literatures, but my experiences of teaching, researching, and practices. The optimal teaching strategies for Somatic Ballet include making corrections with Verbal, Tactile, and Visualization/Imagery cues; and not by hanging at the barre, and not by checking their movement at the mirror. These strategies will improve ballet dancers` proprioceptive and performative skills. This is the way we follow M other Nature`s principles of movement.

This study is intended to investigate the role of a dance stage as 'medium` and 'interface` by the change of its concept and em boss the importance of the space for dance which is a means to communication. For this purpose, with a focus on the two works of < Trajets > by Susan Kozel and < Heterotopia > by W illiam Forsythe, we tried considering the role of the stage for dance as a concept of McLuhan`s 'cool media` and Bolter & Gromala`s 'mirrors`. Accordingly, this attempt to interpret the role of the stage by expanding the border of the typical 'stage,` which has divided the space into arts and everyday life.

This study aims to investigate and verify the difference in the dance majoring university students` dance learning participation motive by types of major. The purpose of this study is to analyze the differences in the motive of participating in learning dance of dance major university students according to type of major. Accordingly, 104 students majors in Dance at S University in Seoul were selected as the sample group. Conclusions produced based on the research questions are as follows. First, dance theory research participation type showed a significant difference in the dance learning participation motive by types of major. Second, credit acquisition participation type showed a significant difference in the dance learning participation m otive by types of major. Third, professor preference participation type showed a significant difference in the dance learning participation motive by types of major.

This study aims to investigate the composition of dancers in jeongjae in the late Joseon period, accompanied with the two genres of dangak and hyangak , by comparing 『Jeongjaemudoholgi』 and Jeongjaedo. The musical compositions in jeongjae were sixfold: BoheojaryeongㆍHyangdanggyoju, BoheojaryeongㆍJunggangㆍHyangdanggyoju, YeominrakryeongㆍBoheojaryeongㆍHyangdanggyoju, BoheojaryeongㆍHyangdanggyoj uㆍSechuijakgagokpyeon, BoheojaryeongㆍHyangdanggyojuㆍSechuijakgagoknongrakㆍ SechuijakgagokgyerakㆍSechuijakgagokpyeon, YeominrakryeongㆍBoheojaryeongㆍ HangdanggyojuㆍGagoknongrakㆍGyerakㆍGagokpyeonjo. The dancer compositions are ninefold: SeonmoㆍHyeopmu, JokjaㆍSeonmoㆍHyeopmu, JokjaㆍJukganjaㆍSeonmoㆍ Hyeopmu, JokjaㆍJukganjaㆍHwanggaeㆍGeumcheokinㆍHyeopmu, JokjaㆍJukganjaㆍ HwanggaeㆍSeonmoㆍHyeopmuㆍHudae, JukganjaㆍDonggiㆍHyeopmu, Jukganjaㆍ SeonmoㆍHyeopmu, JukganjaㆍHyeopmu, JipdangㆍSeonmoㆍHyeopmu. The common accompaniment pieces in jeongjae were YeominrakryeongㆍBoheojaryeong and JunggangㆍHyangdanggyojuㆍSechuijakgagoknongrakㆍSechuijakgagokgyerakㆍ SechuijakgagokpyeonㆍGagoknongrakㆍGyerakㆍGagokpyeonjo. The dancer composition was JokjaㆍJukganjaㆍHwanggaeㆍSeonmoㆍHyeopmuㆍHudaeㆍJipdang.

In an actual movement of 'doing`, perception has a significant role that makes aware and takes control of oneself. It also supports oneself to perceive the present physical and emotional state. For the dancers to be self-aware and be conscious of oneself before doing the movement, not only he or she can perform competently, but it can also help them protect from getting injured. Perception in Body-Mind Centering intends to transcend training the cranial nerve system and develop into recognizing body`s unit of cells. Our body is made up of unit of cells and Body-Mind Centering disciplines each cells` capability of self-awareness in order to be embodied ultimately. The definition of perception in Body-Mind Centering is not consciously sensing through ordinary cranial nerve system that we usually know but sensing each unit of cells that forms our body. Being conscious of each unit of cells interprets that we do recognize even in senseless circumstances. The process of embodiment is to promote one`s ability to be self-aware by stimulating the cells and in the midst of the procedure, we can re-educate the movement of the cells and heal by ourselves.

The purpose of this study is to find out the sense which demanded in contact im provisation and interpret it as haptic and unrepresentation by applying concept of G. Deleuze. The m ost important sense in contact improvisation is sense of skin which has it`s own sight instead of sight of eyes. This study find out that contact improvisation em phasis not representation but sense which flowing between organs as haptic. That means contact im provisation is in pursuit of expanding sense rather than engaged in representation of any form or meaning through the form. This study suggests that the changes found in contact improvisation that haptic and unrepresentation can be characters of contemporary dance, as contact im provisation is still widely used.

The problems of college entrance system for dance students include that the purpose of the system has lost its direction and the contents of the system has become unilaterally standardized, causing the system to become desolated. The ways to improve the college entrance system for dance students include, first, “internalization - to look in” to evaluate the students` personalities. Second, it is “specialization - to take initiatives” to specialize the colleges and to see how creative and constructive the applicants and students are for their own lives. Third, it is“publicization - to make.” College education should be directly related to high school education and expanded to college curriculums to extend it to job finding to communicate with the society after graduation, to publicization with education, to making.

The purpose of this study is to investigate the collaboration trend in dance performance in high concept era and recognize collaboration as an effective tool to achieve common goal in performing arts. The successful collaboration requires relentless efforts to stimulate creative choreography of dance performance through out-of-box, innovative planning and marketing not to end up with the arithmetic type of collaboration or one-off collaboration projects.

This article raises the subject of gender hierarchy in relations to Korean mask dance drama, t`alch`um. To demonstrate male and female unequal relationships in performing groups, I examine procedures for getting a promotion among professional dancers in preservation societies. Based on this analysis, I argue that female performers play a lim ited role in activities of the preservation societies, and their promotion to Yenung Poyucha or Chonsu Kyoyuk Chokyo is delayed. These phenomena to be restricted and delayed are influenced from Korean Confucian patriarchy that would re-affirm male authority and re-call an idea of gender binary in South Korean contemporary society.