Center for Korean Studies

University of Hawai‘i at Mānoa

Collection Number 27

JUDY VAN ZILE COLLECTION

Finding Aid

June 4, 2021

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prepared by Judy Van Zile, Emerita Professor of Dance, University of Hawai‘i at Mānoa

with assistance from Center for Korean Studies Staff and Assistants

For additional information contact: Center for Korean Studies University of Hawai‘i at Mānoa 1881 East-West Road Honolulu, Hawai‘i 96822 phone: (808) 956-7041 or Judy Van Zile [email protected]

Every effort has been made to accurately identify items in the Collection and to produce a broadly usable finding aid and inventory. Corrections to this document and additional information on items in the Collection are welcome, and should be conveyed to Judy Van Zile or the Center for Korean Studies, at the addresses above.

The opinions, findings, conclusions, and recommendations expressed in this document are those of the author and do not necessarily reflect the views of any supporting organizations or individuals.

Except for materials created by the collector (such as personal field notes, some photographs, and audio tapes of interviews), unless specifically stated for individual items, inclusion of materials in the Collection does not imply copyright ownership by the collector or the Center for Korean Studies. It is the responsibility of individual users to determine copyright and, when needed, to obtain permission to use items for any purposes other than personal research.

© Center for Korean Studies, University of Hawai‘i at Mānoa

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CONTENTS

I. Overview of the Collection ...... 1

II. About the Collector A. Background ...... 3 B. Notes on Language ...... 6 C. Notes on Romanization ...... 8

III. Content of the Collection ...... 9

IV. Rights, Permissions and Use of the Collection ...... 10

V. Organization of the Collection and the Inventory ...... 11

VI. Notes on Redaction and Frequently Used Abbreviations ...... 14

VII. Acknowledgments ...... 16

VIII. Judy Van Zile: An Abbreviated Résumé ...... 18

IX. Inventory (in process) ...... 32

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I. OVERVIEW

The Collection contains items acquired and used by Judy Van Zile, Professor Emerita of Dance, University of Hawai‘i at Mānoa, during her teaching and research career, a career that began in the late 20th century and has continued since her 2010 retirement. Housed at the University of Hawai‘i at Mānoa’s Center for Korean Studies, it contains approximately 55 linear feet of paper items, audio, video, and audiovisual materials, together with memorabilia and ephemera in a variety of mediums. The Collection was gifted to the Center in June, 2013. Beyond its focus on Korean dance it includes materials that broadly relate to Korean history and culture, with some on North , and non-Korean materials relating to Van Zile’s teaching, research, and publications that interconnect in various ways with her work on Korean dance.

The Collection includes:

• books • book-like print materials (e.g., journals, conference proceedings, publicity materials from organizations and dance companies), either in original or photocopied form • copies of masters theses and doctoral dissertations (from Korea and the United States) • originals and/or typescripts of field notes produced by Van Zile while in Korea or shortly thereafter • originals and photocopies of newspaper articles (from Korea, the United States, and elsewhere) • hand-written notes and comments, usually in Korean, written by individuals with whom Van Zile worked • audiovisual materials—originals and copies of commercial items, publicity materials, and items gifted to Van Zile (including audio recordings, videotapes, CDs and DVDs, photographic prints and negatives, and slides), original Labanotation (dance notation) notes and Labanotation scores created by Van Zile, and photocopies of scores created by others • various memorabilia and ephemera

Materials are primarily in English and Korean, with some in other languages. Some non-English-language items include either full, but rough-draft translations; summary translations; or margin notes with very rough translations.

Within the area of dance in Korea, the Collection contains extensive items relating to:

• Chinju Kŏmmu • Ch’oe Sŭng-hŭi • Ch’ŏyongmu • Hahoe T’alch’um • Kim Ch’ŏn-hŭng • Halla Pai Huhm

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• Kosŏng Ogwangdae • the Labanotation and movement analysis of Korean dance • iconography and Korean dance

Individual items of particular note include:

• a bound mimeographed book, Chinju Shisa, written before 1983, that includes a broad array of topics relating to the history of the city of Chinju and the dance Chinju Kŏmmu • photocopy of book about ’s Chamo dance notation system • artwork by recognized Kosŏng artist Mukchae • dance knives, made by National Living Treasure Kim Tŏk-ryong, used in Chinju Kŏmmu

Together with the Halla Huhm and Kim Ch’ŏn-hŭng collections, the Van Zile Collection enhances the Center’s Library holdings that focus on Korea’s performing arts, and embraces such topics as:

• Korea’s global presence during the colonial era • use of the performing arts in diaspora settings (including holdings specifically focusing on Hawai‘i) • Korea’s recognition of intangible cultural heritage • iconography of Korean dance • issues relating to language and translation • tourism and the performing arts

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II. ABOUT THE COLLECTOR

(Note: Because the collector, donor, organizer of the Collection, and author of this finding aid are the same, the first person is used in the following narrative, but not in the Collection’s inventory.)

A. BACKGROUND In the fall of 1971 I began the major path of my professional career. It was then that I joined the teaching faculty of the University of Hawai‘i at Mānoa (UHM). A bureaucratic funding idiosyncrasy led to my half-time appointment in the Music Department, despite the fact that my training and responsibilities were solely in the area of dance. After four years my appointment became full-time.

During my early years at UHM I worked closely with Carl Wolz, a full-time dance faculty member whose position was in the Department of Drama and Theatre, to expand the dance curriculum and establish undergraduate and graduate dance degrees. As these curricular matters evolved my position was moved when most dance courses and related faculty positions were consolidated into what became the Department of Theatre and Dance. It was in that department that I remained until I retired at the end 2009, being recognized with emerita status in early 2010.

When I joined the UHM faculty I knew nothing about Korean dance. I had studied ballet, tap, jazz, some Spanish dance, and hula as a youngster while growing up in Chicago, added modern dance while earning an undergraduate degree, and learned Japanese theatre forms that included dance as well as India’s bharata natyam while pursuing a graduate degree. (See section VIII for an abbreviated résumé of my training, together with selected publications and professional activities.) My study of bharata natyam continued in India with a Fulbright grant. There I came to realize the strength of my desire to learn more about dance forms from across the globe, and my growing interest in finding ways to record dance movements in some kind of notational form. Because there were no doctoral degrees in dance at the time, I decided to pursue a second master’s degree focusing on dance ethnology when I returned to the United States.

Studies I pursued at the University of California, Los Angeles, expanded my practical experiences to include Japanese bugaku and several types of Javanese dance, and eventually led to certification in Labanotation, a system for recording dance in a symbolic written form that somewhat parallels the western system for notating music. These areas, together with knowledge from my previous studies, served as the core of my initial UHM teaching responsibilities.

While teaching an undergraduate course intended to provide an overview of dance across the globe, I realized how woefully limited my knowledge of dance from many parts of the world still was, and how many geographic regions were represented in Hawai‘i’s multicultural population. I committed to enhancing my background beyond the

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dance forms with which I was already familiar, and read voraciously, saw as many of the large number of performances given in Hawai‘i as I could, saw dance wherever I traveled, and attended workshops of many kinds when I could fit them into my schedule.

Among the courses taught at the University when I joined the faculty was one on Korean dance. A studio course that engaged students in learning dances and dance techniques rather than focusing on learning about the dances (as the overview survey course I was responsible for did), the course was usually taught by part-time faculty member Halla Pai Huhm, who also taught at her own studio in the community. At the time, however, Huhm was in Korea on a short hiatus furthering her own repertoire of Korean dances, and the course was taught by her assistant, Chung-won Meyer.*

I continued to learn Korean dance at both the University and with Huhm at her studio when she returned, and discovered something intriguing about myself. Up to that point although I had learned many different kinds of dance, it was bharata natyam that was the focus of my studies—both in terms of learning dancing as well as learning about dancing. Although bharata natyam has quite lyrical components, my fascination was with its highly rhythmic sections. It was here that I found a kind of mental game involved in aligning the complex rhythmic patterns stamped out by the feet with the accompanying musical rhythms. It was my propensity for math and logical thinking that drew me to this South Asian dance form.

The highly rhythmic portions of bharata natyam also tended to be kinesthetically abrupt and staccato. While there are many abrupt and staccato movements and dance styles in Korea, including many dances in which the dancer plays extremely intricate rhythmic patterns on a drum, much of the Korean dance repertoire I initially learned was quite lyrical. I enjoyed doing the gentle fluidity of the Korean dance movements I was learning more than those of bharata natyam.

In 1974, three years into my teaching in Hawai‘i, the trajectory of my engagement with Korean dance began to turn. At that time Lee Byong-won, an ethnomusicologist from Korea, joined the Music Department’s faculty. As my interest in Korean dance increased and I took classes he taught on Korean music, he suggested that I pursue studies of Korean dance in greater depth. He believed no one, in Korea or elsewhere, was doing serious research on Korean dance, and thought it might be possible for me to obtain funding from Korean sources to assist me in traveling to Korea.

*Halla Huhm had brought Chung-won Kim to Hawai‘i to assist at the Halla Huhm Dance Studio. Kim was the daughter of Kim Ch’ŏn-hŭng, an acknowledged Korean dance master who performed both music and dance in the last days of Korea’s royal court. Chung-won Kim eventually married Hawai‘i resident Harold Meyer. She followed the American custom and then became known as Chung-won, or Wonni, Meyer. It was Mrs. Meyer, in Halla Huhm’s absence, who first introduced me to the movements of Korean dance. The Center for Korean Studies’ Halla Huhm Collection contains valuable materials relating to Halla Huhm and her studio. The Center’s Kim Ch’ŏn-hŭng Collection, gifted to the Center by Kim and his family, contains originals and copies of original materials relating to his career in both dance and music.

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I gradually began to join Korean history and language classes at the University, and applied to what was then known as the Korean Culture and Arts Foundation (Han’guk Yesul Munhwa Chinhŭngwŏn) for support to visit Korea. I was fortunate to receive funding, and spent part of October and November of 1980 in Korea, attending a folk festival and meeting with dance people to explore a potential focus for future studies. This marked the beginning of the primary geographic focus of my research career.

From 1980 until this writing in 2021 I traveled to Korea more than 30 times for various durations to pursue research, teach, and participate in conferences. I met many talented and generous people: senior dance masters and young university performing arts students; music and dance performers, scholars, and critics; and American expatriates who had served in the Peace Corps and decided to make Korea their permanent home. I received funding support from organizations in Korea and the United States, and began to present the results of my research at conferences not only in Korea but in the United States, Europe, and other parts of Asia. I found ways to weave Korean content into almost all of the courses I taught at UH, as well as in guest teaching I did in other locations. I tried to use the results of my research to exemplify diverse topics and to contribute, as often as possible, to introducing people to the vast array of kinds of dance I was learning about. I had become passionate about all kinds of dance that I saw in Korea, and also wanted to know how Korean dance existed outside of Korea.

As I conducted research I collected many kinds of materials, not always knowing if or in what way they might become useful. People I met were generous in sharing their knowledge and insights, and frequently presented me with materials I could use in both teaching and research projects. Sometimes my acquisitions dealt specifically with dance, sometimes they contained only brief mentions of dance, and sometimes they were completely unrelated to dance. But all furthered my understanding of Korea and its people, and ultimately, therefore, its dance.

The materials in this collection comprise things that formed the basis for the insights I gained about Korean dance over the course of my career, and the tangible results of my research. They also include materials from research projects not specifically focusing on Korea, but that in many ways also influenced my work on Korean dance.

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B. NOTES ON LANGUAGE AND ROMANIZATION My study of the began informally. As I learned to dance my teachers frequently counted in Korean and certain instructions were repeated again and again in Korean. I learned the equivalent of “let’s begin,” “one more time,” “slowly,” and “fast” almost by osmosis, as well as names of dances and drumming patterns. But as I embarked on formal research and travels to Korea, I knew that I needed to learn more. Despite a full-time teaching load and family activities, I began to audit language classes at the University of Hawai‘i.

As I struggled with the class assignments I was confronted with the unhappy reminder of how linguistically challenged I am. In addition, one of my teachers informed me that linguists consider Korean among the five most difficult languages for English-language speakers to learn, and that it is more difficult for adults to learn a second language than children or those considerably younger than I was. I also learned that since the Korean language was originally written with Chinese characters, after two years of study I needed to start learning Chinese characters in addition to the Korean script.

Thus began my on-going tight-rope walk between wanting to continue research on Korean dance and feeling a need to abandon it because of language limitations. Over the years of my travels to Korea I acquired “survival level” skills and became increasingly familiar with dance-related terminology. I could find my way around, inquire about dance performances, manage to get food, and even order some special dance implements, using the Korean language, over the telephone. Although I grasped the basic gist of many conversations, especially when they related to dance, I continued to struggle with conversations that involved depth. This struggle contributed, on a number of occasions, to the possibility of abandoning Korea as my focus.

As I turned to translators, interpreters, and research assistants for language help, I knew this created filters for what I learned. As a result, I constantly sought to validate, perhaps to an even greater extent than is usual in fieldwork, information I obtained. I also came to appreciate the incredible difficulty of translation that yields meaning and not just words. I remain forever indebted to individuals who casually assisted me with conversations over tea, interpreted during interview sessions, and pored through published materials and interview notes with me again and again as we discussed literal meanings of words and then how to fit them together to make sense of complex ideas. Their efforts contributed to my decisions to continue researching Korean dance.

Other driving forces that pushed me forward were my increasing interest in what I was learning about dance, my desire to help eliminate the conspicuous absence of meaningful publications in English about Korean dance (an absence that has dissipated over the years with important contributions by individuals from Korea and elsewhere), and the realization that whether or not I gained any proficiency in the language, the process of trying to learn it contributed to deepening my understanding of Korean culture, and hence dance.

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These and other language issues are reflected in the Collection. Some of the oldest historical materials were written in Chinese characters, or . Nineteenth-century writings by Korean authors were liberally sprinkled with both hanja and han’gŭl, the Korean script. While many 20th-century authors increasingly used han’gŭl, others continued to write much terminology and many theoretical ideas in hanja—and younger- generation interpreters were not always facile with this writing system or the meanings of many older words used. Hence, I frequently compiled lists of terms and glossaries, sketched notes of the general content of publications not in English, and sought assistance for detailed translations of items directly related to projects at hand. I scribbled meanings in margins and on Post-it notes, and asked those I spoke with to write things in han’gŭl or hanja, especially their own names. I then cut and pasted these directly into my notes—to try to get help with meanings at another time. The Collection contains many of these kinds of items.

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C. NOTES ON ROMANIZATION Related to my own challenges in learning the Korean language is the issue of romanization. Although I found han’gŭl fairly easy to learn, the development over the years of various systems to write the Korean language in the Latin script continues to significantly complicate research, writing, and cataloguing efforts. My research notes exemplify some of these challenges: spellings are inconsistent and often reflect personal attempts at suggesting pronunciation, changes in the official South Korean government’s official romanization methods, or my undergraduate days that included learning the International Phonetic Alphabet.

I gradually came to use the McCune-Reischauer romanization system, created in 1937 by George M. McCune and Edwin O. Reischauer. My decision was based on the system’s focus on representing phonetic pronunciation, which I found quite helpful, and its wide use among American scholars. With several somewhat standard exceptions, that is the system I have tried to use most consistently in cataloguing the Collection, even when publications themselves use a different system. Exceptions include such things as alternate spellings used for names of individuals who have become known by other spellings (e.g., Yi for the common family name often romanized as I or Lee), names of individuals whose works appeared in English and for whom I was unable to locate a han’gul spelling and hence convert to the McCune-Reischauer system (in some of these instances names are written in the McCune-Reischauer system but without the diacritical markings), and names of such things as places and organizations that have become standardized (e.g., Ewha [for Ewha Woman’s University], and ). See the glossaries of names and terms in my book Perspectives on Korean Dance for many of the names and terms, in multiple scripts, that recur in the Collection and the Collection inventory.

Korean terms, concepts, and titles of such things as organizations, books, and journals, retain their spelling as in the original item, but are written in the McCune-Reischauer system when used independently in descriptions. In addition, names of dance genres and titles of individual dances are italicized, but not of major kinds of dance that have many choreographic variations, e.g., Pongsan T’alch’um and Chinju Kŏmmu, but t’alch’um and kŏmmu.

I have retained the traditional Korean manner of writing the family name first and the given name last, except for individuals who have taken English-language personal names. Because of the occasional complexity of discriminating between family names and two-syllable personal names, I also have retained the now less-frequently used system of hyphenating the two syllables of personal names. Where names of authors of print items are known, but not included in the title of the item, they are included in parentheses in the item’s description.

The issues described here should be kept in mind when using the Collection’s inventory as well as materials in the collection.

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III. CONTENT OF THE COLLECTION

The need for diverse kinds of materials for doing dance research, analysis, and documentation is reflected in the Collection. The materials include: • books • book-like print materials (e.g., journals, conference proceedings, publicity materials from organizations and dance companies), either in original or photocopied form • copies of masters theses and doctoral dissertations (from Korea and the United States) • originals and/or typescripts of field notes produced while in the field or shortly thereafter • originals and photocopies of newspaper articles (from Korea, the United States, and elsewhere) • hand-written notes and comments, usually in Korean, written by individuals with whom I worked • audiovisual materials, including —original audio recordings made in the field —original slides made in the field and slides of photographs contained in published materials (the latter used for teaching and research) —negatives, photographic prints, and copies of prints (from various sources) —copies of video tapes gifted to me from various sources (some commercial, some publicity materials, and some field materials) —original commercial video tapes purchased by or gifted to me • various memorabilia and ephemera purchased or gifted to me • original Labanotation (dance notation) notes and Labanotation scores created by me and photocopies of scores created by others

Because of the fickle nature of the internet, printouts from websites used for research are included in the section of print materials.

Materials are primarily in English and Korean, with some in other languages. Because of my limited Korean-language fluency (see Notes on Language), many Korean- and other non-English-language items often include either full, but rough, draft translations; summary translations; or margin notes on selected paper materials with very rough translations.

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IV. RIGHTS, PERMISSIONS, AND USE OF THE COLLECTION

The Collection is owned by the University of Hawai‘i at Mānoa’s Center for Korean Studies. Items were gifted to CKS with no assurance of original copyright ownership other than those designated as my own. The latter include such things as personal field notes and audio, visual, and audio-visual materials generated by me. Relevant designations are indicated in the inventory and/or on individual items.

In addition, all items were gifted to CKS with the understanding that permission is granted only for personal research use and only for use at the Center for Korean Studies Library. If interested in using materials in any other way, it is the user’s responsibility to obtain permission from the intellectual property rights holders.

The use of any materials in an individual’s research should include acknowledgment for the specific material(s) used and an indication of their specific location in the Judy Van Zile Korean Dance Collection at the Center for Korean Studies, University of Hawai‘i at Mānoa.

Since many things in the collection are originals, care should be taken in handling all items, as is standard practice for special collections (e.g., working with materials on a flat surface, using only pencils while perusing items and taking notes). Additionally, materials within folders are typically housed in protective plastic sleeves. Because these are slippery, great care should be taken when removing them from the boxes, examining individual items, and then replacing them in their appropriate sleeves, folders, and boxes. To aid in preservation and appropriate re-location of individual items, carefully lift folders straight up when removing them from boxes, place them on a flat surface to open them and examine contents, and then lower them straight down when returning them to boxes.

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V. ORGANIZATION OF THE COLLECTION AND THE INVENTORY

The Collection is housed in two separate sections of the closed shelves at the library of the Center for Korean Studies. Most books and book-like materials are shelved in a designated section of the library’s General Collection. They are arranged according to the United States Library of Congress cataloguing system, contain more than 700 titles, and occupy approximately 32 linear feet of shelf space. These items are not included in this inventory but are catalogued in the CKS library’s general catalogue, which may be searched online at http://cksopac.manoa.hawaii.edu. Consult a Center librarian to browse all titles in this portion of the Judy Van Zile Collection.

Additional books and book-like items that are not readily classified according to the Library of Congress system are contained in approximately 5.8 liner feet of file-holder boxes located on shelves at the end of the above materials. They include Magazines (3 boxes), Conference Proceedings (3 boxes), Promotional Materials (1 box), Programs (from performances—2 boxes), Journals (4 boxes) Theses and Dissertations (3 boxes), and a number of miscellaneous items

All other items (e.g., photocopies of journal articles, field notes, audiovisual materials, memorabilia, and ephemera) are located in archival containers in a dedicated archival section of the library. There are more than 61 containers that occupy approximately 22.5 linear feet of shelf space, plus additional assorted spaces for items of sizes and configurations that cannot be accommodated in standard archival containers. These items are all catalogued in this inventory, and their listings include box numbers for finding them within the archival section. Information in the inventory that follows relates to these items that are not located in the Center’s General Collection area, but in the archival area.

All items in the Collection are located on the third floor of the CKS building. Permission to peruse the entire collection must be arranged through CKS Library staff. Individual items may be retrieved by a staff member and used in the library’s reading room on the second floor.

Organization of the archival items in part reflects the way things were organized in my office, which in turn was partially based on when and how I pursued specific projects. The final scheme also reflects my effort to make the materials broadly accessible to individuals who wish to learn about Korean dance regardless of the extent of prior knowledge, and to accommodate the logistics of archivally housing different kinds of materials.

Because of technological advances allowing for word searches in the online version of the inventory, sorting is based initially on the medium of items, followed by broad subject categories, and then narrower sub-categories. All of this acknowledges, however, the different logics that could suggest placing items in multiple locations based on the nature of both medium and topic, and the occasional mixing of medium type and topic. Additionally, some medium types are occasionally intermixed, such as

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photographs included with print materials relating to a particular form of masked dance drama or an individual dancer.

Key words are not provided, but the inclusion of category labels and detailed descriptions of individual items within the inventory should facilitate digital searching for specific topics, and personalized search criteria can also be used—keeping in mind potential variations in romanization of Korean names, locations, and terminology.

Numbers and letters in the left column of the inventory indicate the box in which a particular grouping of items may be found and the medium of these items. Letters used are as follows:

P paper (e.g., published and unpublished printed materials, such as reproductions of journal articles, personal notes, correspondence, and some flat memorabilia and ephemera)

AV audio, visual, and audiovisual items (e.g., video and audio cassette tapes; CDs; DVDs; photographic prints, slides, and negatives), and 3- dimensional or over-sized ephemera and memorabilia (e.g., art work and fans of different kinds)

MM items of various or mixed media, primarily memorabilia and ephemera. Items in this category may be housed in oversize containers and containers of diverse dimensions. While located in or near the archival section of the library containing the P and AV items, because of their specific configurations they are not always arranged numerically.

Numbers following these letters indicate the specific box on the shelf in which items are located, with boxes arranged numerically within the P and AV categories, but not always in the MM category (approximate locations for these are given together with the description of the container content). For example:

P-1 the 1st box in the section of paper items

AV-6 the 6th box in the section of audiovisual items

MM-4 the 4th box of mixed media items

The second column of the inventory contains a general description of the topic(s) of the items in the box.

The third column provides general or detailed descriptions of the individual content of folders, sleeves, or containers within an individual box. Items of related content are located in the same folder or, where space was needed, in adjacent folders. While information here often includes full or partial bibliographic details for paper materials and source information for other kinds of materials, the actual items themselves should

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be consulted for the most complete information.

For items in AV boxes the third column also indicates the nature of the medium (e.g., videotape, CD, audio cassette, photograph, print, microfiche).

When referencing individual materials in the collection, information in the first and third columns provide the most accurate source citation. For example, P-2, F-4 indicates the 4th folder in the second box in the print materials section. AV-16, Tray 2 indicates the 2nd tray (long, slide box) in the 16th AV box.

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VI. NOTES ON REDACTION AND FREQUENTLY USED ABBREVIATIONS

During the course of research I established strong working relationships with many individuals who shared with me important information and insights. Occasionally they entrusted me with information important to pursuing my research but that I do not consider relevant for the public record. I have, therefore, redacted some details.

Because a number of organizations and individuals were frequently named during the course of research, in personal notes I often used abbreviations when referring to them and the McCune Reischauer romanization system, but without diacritical markings. The chart on the following page contains a list of these abbreviations and a very brief indication of what or who they refer to.

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CKM MJF The dance Chinju Kŏmmu Mary Jo Freshley (individual associated with the Halla Huhm Korean Dance Studio) CSH Ch’oe Sŭng-hŭi (Korean dancer who performed in NCMI and NCKTPA the United States and is the subject of a major Abbreviations for two commonly used English- portion of my research) language versions of Kungnip Kugagwŏn officially designated by the government of South Korea. CYM Although the of this organization The dance Ch’ŏyongmu has remained relatively consistent since its early designations as Ŭsŏngsŏ, Taeakkam, Taeksŏ, DNB Chŏnaksŏ, Aaksŏ, Aaktae, and Ku Wanggung Dance Notation Bureau—a Labanotation [dance Aakpu, since the mid-twentieth century the South notation-]-related organization based in New York Korean government periodically changed its City English-language designation to National Classical Music Institute (NCMI), National Center HH for Korean Traditional Performing Arts (NCKTPA), The dancer Halla Pai Huhm and the current, as of 2021, . ICKL International Council for Kinetography Laban (the NYPL major professional international organization for New York Public Library (a United States library practitioners of Labanotation and Kinetography with a major dance collection) Laban, both related systems for notating dance in written form) OSU Ohio State University (university in the United KCH States at which a major Korean dance-related Kim Ch’ŏn-hŭng (a former dancer in the royal research project I pursued was based) court who was attached to Kungnip Kugagwŏn until his death) PALM San Francisco Performing Arts Library and KOG Museum (a major library in California at which I Kosŏng Ogwangdae—a masked dance drama pursued research relating to Ch’oe Sŭng-hŭi) form SEM Kugak Wŏn Society for Ethnomusicology (a major professional A shortened version of Kungnip Kugagwŏn (see organization based in the United States whose also NCMI) publications I frequently used and whose conferences I frequently attended) L.A. Los Angeles (city in California) WDA World Dance Alliance (a major global dance LN organization) Labanotation (a major system for notating dance in written form)

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VII. ACKNOWLEDGMENTS

While acknowledgments are included in many individual items in the Collection (particularly in the case of publications I authored), there are organizations and people that have been particularly instrumental in my ongoing research that I wish to recognize here, with apologies for inadvertent omissions.

I have been fortunate to receive funding support from sources within the United States as well as Korea. In Korea I gratefully acknowledge assistance from the Korean Culture and Arts Foundation (Han’guk Yesul Munhwa Chinhŭngwŏn, known since 2005 as Han’guk Chung’ang Yŏn’guwŏn); Academy for Korean Studies (Han’guk Chŏngshin Munhwa Yŏn’guwŏn); Korean-American Educational Foundation (Fulbright Program); International Cultural Society of Korea (Han’guk Kukche Munhwa Hyŏphoe); and the sponsors of many of the conferences in which I was invited to participate. Organizational support for participation in specific conferences is included in resulting manuscripts and publications in the Collection.

Many offices within the University of Hawai‘i system contributed to funding travel and individual projects. I am particularly grateful for support from the Mānoa campus’s Research Council and what is now known as the School of Pacific and Asian Studies (SPAS—formerly known as SHAPS, the School of Hawaiian, Asian, and Pacific Studies).

I am especially appreciative of ongoing support from the University’s Center for Korean Studies. Beyond financial assistance for research, attendance at conferences, and special projects, I am grateful for support provided by individual faculty and committee members of the Center. Besides those whose classes I took, I gained immeasurably from special lectures, symposia, and informal conversations. Staff were particularly helpful in navigating the details of grant proposals and necessary paperwork, and their courtesy and knowledge relating to bureaucratic matters were always extremely helpful. Center staff and financial assistance have also contributed to making this Collection and finding aid possible.

Acknowledgments would not be complete without recognizing some of the many dancers, teachers and scholars who patiently answered countless questions, particularly Chang Sa-hun, Chŏng P’il-sun, Halla Pai Huhm, Han Man-yong, Kim Ch’ŏn- hŭng, Lee Hye-gu, Mary Jo Freshley, Sŏng Kye-ok, and Yi Yun-suk; two former students who provided translation and research assistance, and became colleagues, Choi Haeree and Kim Eun-hee; people who provided invaluable translation and interpretation assistance at various stages in the research process and during special projects—Alan Heyman, Brian Barry, Charles Hill (Han Chulsu), Gary Rector, Joo Yun- hee, Kim Sung-ja, Lee Chun-hye, Lee Young-lan, Ryu Ran, and Um Hae-kyung; Mike Macmillan, for advice and assistance in organizing the Collection and this finding aid; and Barbara B. Smith, who has been a wise and unflagging mentor throughout my career.

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My work was continually propelled by writers and colleagues in various fields. Too numerous to list here, their names appear in the bibliographies of my own writings. Their publications contributed in countless ways to my knowledge and thinking about Korean dance.

Last, but certainly not least, without the willingness of my late parents to allow me to pursue what often seemed like strange and exotic undertakings, the continual support of my late husband and his unbelievable support and patience in reading virtually everything I wrote until his untimely death, and the often unanticipated humor of our daughter, my involvement with Korean dance would have been short-lived.

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VIII. JUDY VAN ZILE: AN ABBREVIATED RÉSUMÉ

The following includes professional credentials and selected activities and publications specifically related to Korea and Korean dance and other activities that reflect influences on my studies and research on Korean dance.

EDUCATIONAL DEGREES AND CERTIFICATIONS 1987 Advanced Certification in Labanotation, Dance Notation Bureau, 1977 Teacher Certification in Labanotation, Dance Notation Bureau, New York City 1971 M.A. Dance (Ethnology), University of California, Los Angeles 1966 M.A. Drama (Dance), University of Colorado, Boulder 1965 B.A. Drama and Speech Therapy, Indiana University, Bloomington

TEACHING POSITIONS Spring 2020, Choreomundus MA Program leading to a degree in Dance Knowledge, Practice, and Winter 2018, Heritage (European inter-university graduate program—University of Clermont Auvergne, Fall 2012, Clermont- Ferrand, France; Norwegian University of Science and Technology [NTNU], Spring 2013, Trondheim, Norway; University of Szeged, Hungary; University of Roehampton, London Spring 2010, [URL], United Kingdom) Spring 2008, Special lectures and classes on research methods, dance notation, and selected Fall 2005, aspects of Korean dance; and advising students on thesis projects during activities Fall 2004 leading to the formalization of the degree program, and then in the officially-established program, in Norway, France, and England

Jan. 2010 Designated Professor Emerita of Dance, University of Hawai‘i at Mānoa

Fall 1971- University of Hawai‘i at Mānoa Fall 2009 Instructor, Assistant Professor, Associate Professor, and then Professor of Dance Primary responsibilities: dance research and ethnology, Labanotation (dance notation), and curriculum development in the area of dance.

Spring 2005 Taipei National University of the Arts, Taipei, Taiwan Three-month guest teaching residency for courses on dance research methodology (particularly as related to dance ethnology), and dance repertoire (based on dances of Korea).

Summer 2003 Han’guk University of Foreign Studies, Seoul, Korea Instructor of course on Korean dance for special summer session curriculum.

July 1992, National Institute of the Arts and Crown Studio, Taipei, Taiwan April-June 1991 Instructor, classes and intensive workshops on dance (including Korea) and dance and film for professionals and students. Supported in part by the Council for Cultural Planning and Development, Taipei, Taiwan.

Fall 1990, Ewha Womens University, Seoul, Korea Fall 1981 Instructor and Visiting Professor for special Labanotation workshop and course.

Summer 1989 Hong Kong Academy for Performing Arts Instructor for workshops on dance in Asia and the Pacific.

Fall 1966- California State College (now California State University), Long Beach

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Spring 1968 Instructor, Drama Department Primary responsibilities: stage make-up, styles of acting, stage diction, movement for actors, and curriculum development in the area of dance.

SELECTED PUBLICATIONS Items have been published in the United States and countries of Asia and Europe. Several works have been republished, and some translated and published in Chinese, Korean, and French.

A. Books 2011 Imaging Dance. Visual Representations of Dancers and Dancing. Hildesheim, Zurich, and New York: Georg Olms Verlag. Co-editor, with Barbara Sparti, Elsie Ivancich Dunin, Nancy G. Heller and Adrienne L. Kaeppler.

2001 Perspectives on Korean Dance. Connecticut: Wesleyan University Press. (reprinted August 2007)

1998 The Halla Huhm Dance Collection: An Inventory and Finding Aid. Hawai‘i: Halla Huhm Foundation. (volume editor/compiler; author of chapter, Biographical Sketch of Halla Huhm) Revised 2004. Available online at http://www.hawaii.edu/korea/halla_huhm/collection/huhmaid.pdf

1982 The Japanese Bon Dance in Hawai‘i. Hawai‘i: Press Pacifica.

B. Chapters in Books 2021 “Moving into Someone Else’s Research Project: Issues in Collaborative Research,” in Kendra Stepputat and Brian Diettrich, eds. Perspectives in Motion. Engaging the Visual in Dance and Music. New York and Oxford: Berghahn Books, pp. 90-105.

2020 “Labanotation and Okinawan Dance: An Overview of Selected Projects,” in Pál-Kovács Dóra and Szőnyi Vivien, editors. The Mystery of Movement. Budapest, Hungary: L’Harmattan Kiadó, pp. 362-375.

2014 “Young Boy Dancer of the Last Korean Emperor, Kim Ch’ŏn-hŭng,” in Hae-ree Ch’ae, editor, Shimso Kim Ch’ŏn-hŭng Yŏngu. Seoul: Korea Dance Research Center, pp. 110- 112. In Korean. Republication of “Majimak Kungjung Mudong Kim Ch’ôn-hûng” [Young Boy Dancer of the Last Korean Emperor, Kim Ch’ôn-hûng], MOMM (Seoul, Korea), No. 1 (2004), pp. 13-17, 104-107 (excerpt, in Korean and English, from chapter in 2001 book, Perspectives on Korean Dance.)

2014 “(Re)Searching the Field: ‘Just Do It Naturally!’”, in Anne Margrete Fiskvik and Marit Stranden, editors, (Re)Searching the Field: Festschrift in Honour of Egil Bakka. Bergen, Norway: Fagbokforlaget Vigmostad & Bjørke AS, pp. 201-210.

2012 “How Do We Know About the Dances of Korea’s Past?,” in Haekyung Um and Hyunjoo Lee, editors. Rediscovering Traditional Korean Performing Arts. Korea: Korea Arts Management Service, a division of the Ministry of Culture, Sports, and Tourism, pp. 46- 55. (Available at http://eng.theapro.kr/DATA/BBS1/TheApro2012_Rediscovering%20Traditional%20Korea n%20Performing%20Arts.pdf)

2011 “Do Artists’ Renderings Reveal or Conceal? Images of Dance in Korea,” in Imaging Dance. Visual Representations of Dancers and Dancing, edited by Barbara Sparti, Judy Van Zile, Elsie Ivancich Dunin, Nancy G. Heller and Adrienne L. Kaeppler. Hildesheim, Zurich, and New York: Georg Olms Verlag, pp. 35-49.

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2011 “Blurring Tradition and Modernity: The Impact of Japanese Colonization and Ch’oe Sŭng- hŭi on Dance in South Korea Today,” in Consuming Korean Tradition in Early and Late Modernity. Commodification, Tourism, and Performance, Laurel Kendall, editor. Honolulu: University of Hawai‘i Press, pp. 169-194.

2007 “Balasaraswati’s Tisram Alarippu: A Choreographic Analysis,” in Adrienne Kaeppler and Elsie Ivancich Dunin, editors. Dance Structures. Perspectives on the Analysis of Human Movement. Szeged, Hungary: Institute for Musicology of the Hungarian Academy of Sciences and Department of Ethnology and Cultural Anthropology, University of Szeged, pp. 363-407 (adapted from “Balasaraswati's ‘Tisram Alarippu’: A Choreographic Analysis,” Asian Music, Vol. XVIII, No. 2 (Spring/Summer 1987), pp. 45-102 (republication of “Balasaraswati's ‘Tisram Alarippu’: A Choreographic Analysis,” in Wade, Bonnie C., editor. Performing Arts in India. Essays of Music, Dance, and Drama. Maryland: University Press of America, 1982. (Monograph Series No. 21, Center for South and Southeast Asia Studies, University of California, Berkeley), pp. 47-104.

2007 “Korean Dance in Hawai‘i: A Century in the Public Eye,” in Yŏng-ho Ch’oe, editor. From the Land of Hibiscus: Koreans in Hawai‘i. Honolulu: University of Hawai‘i Press, pp. 256-277.

2006 “Interpreting the Historical Record: Using Images of Korean Dance for Understanding the Past,” in Theresa Jill Buckland, editor. Dancing from Past to Present: Nation, Culture, Identities. Wisconsin: University of Wisconsin Press, pp. 153-174.

2005 “Noter la danse: comment et pourquoi?,” in Andrée Grau and Georgiana Wierre-Gore, editors and co-authors. Anthropologie de la danse. Genèse et construction d’une discipline. Pantin, France: Centre National de la Danse, pp. 221-224. (French translation adapted from “Capturing the Dancing: Why and How?,” in Theresa Buckland, editor. Dance in the Field: Theory, Methods and Issues in Dance Ethnography. London and New York: Macmillan Press and St. Martin’s Press, 1999, pp. 85-99)

2002 “Japanese Bon Dance Survivals in Hawai‘i,” in Maureen Needham, editor. I See America Dancing: Selected Readings, 1791-2000. Bloomington: University of Illinois Press, pp. 75-81.

2001 “The Many Faces of Korean Dance,” in Ann Dils and Ann Cooper Albright, editors. Moving History/Dancing Cultures. A Dance History Reader. Connecticut: Wesleyan University Press, pp. 178-190. (Based on chapter in 2001 book-publication, Perspectives on Korean Dance.)

2000 “Resources for Knowing the Past: Issues in Interpreting Iconographic Representations of Korean Dance,” in Sŏ In-hwa, Pak Chông-hae, and Judy Van Zile. Chosŏn shidae chinyŏn chinch’an chinhapyŏngp’ung. Folding Screens of Court Banquets and Congratulatory Ceremonies in the Joseon Dynasty. Korea: National Center for Korean Traditional Performing Arts, pp. 267-278.

1999 “Capturing the Dancing: Why and How?,” in Theresa Buckland, editor. Dance in the Field: Theory, Methods and Issues in Dance Ethnography. London and New York: Macmillan Press and St. Martin’s Press, pp. 85-99.

1998 “Movement in Shamanic Contexts, An Inquiry,” in Keith Howard, editor. Korean Shamanism. Revivals, Survivals, and Change. Seoul: Royal Asiatic Society, Korea Branch, pp. 153-186.

1997 “When Cultures Meet: Three Asian-American Choreographers. Introduction,” in Crusader Hillis and Urszula Dawkins, editors, New Dance from Old Cultures. Australia:

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Ausdance (Australian Dance Council) and Green Mill Dance Project, p. 98. (Introduction to four essays by participants in the When Cultures Meet: Three Asian-American Choreographers project.)

1995 “New Trends in Korea,” in Ruth and John Solomon, editors. East Meets West in Dance. Voices in the Cross-Cultural Dialogue. Switzerland: Harwood Academic Publishers, pp. 239-252. (Based on 1991 article, “Dance in Contemporary Korea.”)

1993 “Characteristics of Nrtta in Bharata Natyam,” in George Kliger, editor. Bharata Natyam in Cultural Perspective. New Delhi: Manohar, American Institute of Indian Studies, pp. 43- 90.

1993 “The Many Faces of Korean Dance,” in Donald N. Clark, editor. Korea Briefing, 1993. Festival of Korea. Boulder: Westview Press (in cooperation with The Asia Society), pp. 99-119. (based on 1991 journal article, “Dance in Contemporary Korea”)

1993 Labanotation scores for lower body motifs used in hula pahu and for 16 hula pahu dances, in Adrienne Kaeppler. Hula Pahu. Hawaiian Drum Dances. Volume I. Ha’a and Hula Pahu: Sacred Movements. Honolulu: Bishop Museum Press. (Scores are spread throughout the book.)

1989 “Dance Research, Writing and Publication in South Korea. An Overview,” in Au, Susan and Frank-Manuel Peter, editors. Documentation—Beyond Performance: Dance Scholarship Today. Essen. June 10-15, 1988. Federal Republic of Germany: Centre of the International Theatre Institute, pp. 227-232.

1988 “Tourism and Japanese Bon Dancing in Hawai‘i,” in Kaeppler, Adrienne and Olive Lewin, editors. Come Mek Me Hol’ Yu Han’. The Impact of Tourism on Traditional Music. Jamaica: Jamaica Memory Bank, pp. 75-87.

1977 “Film, A Research Tool in Dance Ethnology,” in Odom, Selma Landen, editor. Dance and Film. Ontario: Art Gallery of Ontario, pp. 35-36.

1976 “An Approach to Dance,” in UNESCO Workshop on the Techniques of Recording Oral Tradition, Music, Dance, and Material Culture. Solomon Islands: UNESCO, pp. 43-45.

C. Encyclopedia Entries 2016 “Ch’oe Sŭng-hŭi (1911-1969),” in Routledge Encyclopedia of Modernism.: Taylor and Francis. https://www.rem.routledge.com/articles/choe-sung-hui-1911-1969. 10.4324/9781135000356-REM1655-1. doi:10.4324/9781135000356-REM1655-1.

1998 “Dance: American, Asian, European,” in Adrienne L. Kaeppler and J. W. Love, editors. The Garland Encyclopedia of World Music. Volume 9. Australia and the Pacific Islands. New York: Garland Publishing, Inc., pp. 106-111. (In section on Hawai‘i.)

1998 “Korea. Dance Research and Publication,” in Cohen, Selma Jeanne, founding editor. International Encyclopedia of Dance, Volume 4. New York: Oxford University Press, pp. 52-55. (Authorship incorrectly attributed in first printing.)

1995 “O-bon” and “Bon Odori,” in Franklin Ng, editor. The Asian American Encyclopedia. New York: Marshall Cavendish Corporation, Vol. 1, p. 138 and Vol. 4, p. 1154.

D. Journal Articles 2018 “Cuī Chéng Xǐ Hé Tā Dē Shí Dài” [Ch’oe Sŭng-hŭi and Her Time], Wǔ Dǎo [Dance], January, No. 437, pp. 67-71. Adapted and translated (by Xiaochen Liu) from 2010 and 2011 conference presentations “Identity, Stakeholders, and Agency: Ch’oe Sŭng-hŭi, a

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Dancer from Korea.” (Does not include bibliography and end notes from originals; introductory comments by Liu regarding her interest in making publications about “world dance culture” available to Chinese colleagues.)

2018 “Aesthetics of Korean Dance: Concepts and Techniques,” Gensha [journal of Hitotsubashi University Graduate School of Language and Society, Japan], Vol. 12, pp.88-118. (available at http://hermesir.lib.hitu.ac.jp/rs/bitstream/10086/29158/1/gensha0001203190.pdf)

2017 “Performing Modernity in Korea: The Dance of Ch’oe Sŭng-hŭi—An Adapted Essay,” Muyong Yŏksa Kirok (The Journal for Dance Documentation & History) (Seoul: Korea), Vol. 44, pp. 118-127. (also in Korean)

2016 “Segye jǒkǔro yǒnghyangryǒk issǒttǒn Han’guk muyongga etaehan shinmyǒng nago ǔimi issǒttǒn symposium” [An Exciting and Important Symposium on an Important Korean Dancer], Ch’um gwa saramdǔl. Dance & People (Seoul: Korea). Vol. 11, pp. 92-93 (in Korean).

2013 “Performing Modernity in Korea: The Dance of Ch’oe Sŭng-hŭi,” Korean Studies, vol. 37 (print date: 2014), pp. 124-149.

2008 “Visible Breathing: The Use of Breath in Korean Dance,” Society and Culture. Journal of the Socio-Cultural Research Institute, Ryukoku University (Japan), Vol. 10 (June), pp. 80- 89.

2008 “We Must Be Unique, We Must Be Modern: Dance in Korea During Japanese Colonization,” Taiwan Dance Research Journal (May), No. 4, pp. 111-149. (in English and Chinese)

2007 “Experiencing Dance in the Land of the Morning Calm,” Kugak nuri [Korean Music], (December), pp. 20-21. (monthly magazine of National Center for Korean Traditional Performing Arts, Seoul, Korea) (Invited contribution)

2007 “Korean Dance Aesthetics: A Preliminary Investigation,” Society and Culture. Journal of the Socio-Cultural Research Institute, Ryukoku University (Japan), Vol. 9 (May), pp. 81- 89.

2005 “Nuga Ch’ŏyongmurŭl Mandŭlŏtnŭnga?” [Who Choreographed Chŏyongmu?], Ch’um Chisŏng [Dance Studies] (Seoul, Korea), No. 2, pp. 146-158.

2004 “Dance in Diasporic Communities. Issues and Implications,” Animated (Foundation for Community Dance, Leicester, England). (Spring), pp. 30-33. Available, without photographs, at https://www.communitydance.org.uk/DB/animated-library/dance-in- diasporic-communities-issues-and-implicat?ed=14060

2003 “Hahoe Masked Dance: But Is It Dance?,” Andong Hakyŏn’gu [Andong Studies], No. 2, pp. 79-110. (Also in Korean, pp. 53-78.)

2002 “Labanotation and Korean Dance: Some Reflections,” Han’guk Muyong Kirok Hak Hŭichi [The Korea Journal of Dance Documentation], Vol. 2 (Spring), pp. 225-236.

2001 “Kŭ Ch’umŭn Muôshin’ga? Muboŭi Yôrô Kachi Hamch’ukchôk Ŭimi” [What is the Dance? Implications for Dance Notation], Han’guk Muyong Kirok Hak Hŭichi [The Korea Journal of Dance Documentation], Vol. 1 (Fall), pp. 199-216. (Translation of 1985/1986 publication.)

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2001 “For Men or Women: The Case of Chinju Kommu, a Sword Dance from South Korea,” Transactions [of the Royal Asiatic Society, Korean Branch]. Centennial Edition, Vol. 75, pp. 9-24. (Republication of 1998 article in Choreography and Dance, Vol. 5, Part 1, pp. 53-70.). Available at: http://muhaz.org/transactions-of-the-royal-asiatic-society-korea- branch-v2.html?page=2

1998 “Korean Dance Terminology: Politics and Words,” Muyong Yesulhak Yŏn’gu [Korean Journal of Dance Studies] (published by Han’guk Muyong Yesul Hakhoe [Korean Society of Dance Studies]), Vol. 2 (Fall), pp. 139-155.

1998 “For Men or Women: The Case of Chinju Kommu, a Sword Dance from South Korea,” Choreography and Dance, Vol. 5, Part 1, pp. 53-70.

1996 “Non-Polynesian Dance in Hawai‘i: Issues of Identity in a Multicultural Community,” Dance Research Journal, Vol. 28, No. 1 (Spring), pp. 28-50.

1996 “Chung Pao-tsai, kao-ro, dao ren-shen tang” (From Kim-chee to Korean B-B-Q and Ginseng Soup: Abundant Choices at the Korean Dance Buffet), Performing Arts Review (Taiwan), May, pp. 46-51. (in Chinese; adapted from 1991 journal article, “Dance in Contemporary Korea”)

1993 “Halla Pai Huhm. Portrait of a Korean-American,” Korean Culture, Vol. 14, No. 3 (Fall), pp. 34-40.

1993 “Dance in Contemporary Korea,” Korean Culture. Vol. 14 (Special Issue), pp. 4-15. (Republication, in issue “highlighting some of [the] best contributions from the last three years,” of 1991 article.)

1991 “Chinju Kommu: An Implement Dance of Korea,” Studia Musicologica Academiae Scientiarum Hungaricae, No. 33, pp. 359-366.

1991 “Kim Ch’on-hung: Portrait of a Performing Artist,” Transactions of the Royal Asiatic Society. Korea Branch, Vol. 66, pp. 45-59.

1991 “Dance in Contemporary Korea,” Korean Culture. Vol. 12, No. 3 (Fall), pp. 10-21.

1989 “Labanotation and Asian Dance: Selected Examples,” SPAFA Digest (SEAMEO Regional Centre for Archaeology and Fine Arts, Thailand), Vol. X, No. 1, pp. 6-11.

1988 “Examining Movement in the Context of the Music Event: A Working Model,” Yearbook of Traditional Music. Vol. 20, pp. 125-133.

1987 “Ch’oyongmu: An Ancient Dance Survives,” Korean Culture. Vol. 8, No. 2 (Summer), pp. 4-19.

1986 “Japanese Bon Dancing in Hawai‘i: Servant of Many Masters,” Asian and Pacific Quarterly of Cultural and Social Affairs. Vol. XVIII, No. 2 (Autumn), pp. 24-30.

1985/1986 “What Is the Dance? Implications for Dance Notation,” Dance Research Journal, Vol. 17, No. 2 and Vol. 18, No. 1 (Fall/Spring), pp. 41-47.

1984 “The Potential of Movement Analysis as a Research Tool: A Preliminary Analysis,” Dance Research Journal, Vol. 16, No. 1 (Spring), pp. 3-26. (Co-authored with Betty True Jones, Peggy Hackney, Irmgard Bartenieff, and Carl Wolz.)

1983 “Japanese Bon Dance and Hawai‘i: Mutual Influences,” Social Process in Hawai‘i.

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Volume 30, pp. 49-58.

1982 “The Musician as Dancer,” Journal of Korean Dance. Vol. 1, No. 1 (May), pp. 37-44.

1981-1982 “Seeking Notation Solutions, with reference to Japanese bon dances in Hawai‘i,” Dance Research Journal. Vol. 14, Nos. 1-2, pp. 53-54. (Republication of 1981 article “Notating Japanese Bon Dances as Performed in Hawai‘i.”)

E. Conference Proceedings 2014 “(Re-)placing Dance in Korea: Advertising with and for Dance,” in Dance, Place, Festival. Proceedings of the 27th Symposium of the International Conference for Traditional Music Study Group on Ethnochoreology, Limerick, Ireland, pp. 192-198.

2013 “‘Why Do You Do That?’—A Response to Some Issues Confronting Dance Today,” Dance Research Forum Ireland. Proceedings of the 4th International Conference— Connecting Communities through Dance, 27 June-1 July, 2012 (Derry/Londonderry, Ireland), pp. 11-20.

2012 “‘Invading’ Space: Achieving Goals in a South Korean Masked Dance-Drama,” in Elsie Ivancich Dunin, Anca Giurchescu, and Scilla Könczei, editors. From Field to Text & Dance and Space. Proceedings for the 24th Symposium of the ICTM Study Group on Ethnochoreology. Cluj-Napoca, Romania: The Romanian Institute for Research on National Minorities and the International Council for Traditional Music: Study Group on Ethnochoreology, pp. 207-210.

2011 “Six Considerations Regarding Labanotation: Reflections on Diverse Experiences and Lessons Learned,” in Proceedings of the Twenty-Sixth Biennial Conference, International Council of Kinetography Laban/Labanotation, held at Suan Sunandha Rajabhat University, Bangkok, Thailand, August 3-8, 2009. Florida: International Council of Kinetography Laban, pp. 161-168.

2008 “Pathways to the Past and the Present: An Examination of Information about Korean Dance in Libraries and Special Archives in Hawai‘i,” in International Conference of Korean Musicologists. Seoul: Society of Korean Musicologists, pp. 137-150.

2008 “Not-so-hidden Structures: What Lies Behind the Movements in Kosŏng Ogwangdae, a Masked Dance-drama Form of South Korea,” in Elsie Ivancich Dunin and Anne von Bibra Wharton, editors. Proceedings. 23rd Symposium of the ICTM Study Group on Ethnochoreology. 2004. Monghidoro (Bologna), Italy. Croatia: International Council for Traditional Music Study Group on Ethnochoreology, Association ‘e bene venga maggio’, and Institute of Technology and Folklore Research (Zagreb, Croatia), pp. 154-157.

2005 “Process and Artifact: Concurrent Preservation and Change in Hahoe T’alch’um, a Masked Dance Form from South Korea,” in Elsie Ivancich Dunin, Anne von Bibra Wharton, and Laszlo Felfoldi, editors. Dance and Society. Dancer as a Cultural Performer. Reappraising our Past, Moving into the Future. Budapest: Akademiai Kiado, European Folklore Institute, pp. 53-61. (Proceedings of the 22nd Symposium of the ICTM Study Group on Ethnochoreology, Szeged, Hungary, 2002)

2005 “Tools of the Trade: We Don’t Need Hammers and Saws,” Global and Local: Dance in Performance. Malaysia: Cultural Centre University of Malaya & Ministry of Culture, Arts and Heritage of Malaysia, pp. 369-378.

2005 “Hahoe Masked Dance: But Is It Dance?,” International Council of Kinetography Laban. Proceedings of the 23rd Biennial Conference, July 23-July 29, 2004. Florida:

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International Council of Kinetography Laban, pp. 41-49.

2004 “Reflections on Dance Notation,” in Conference Proceedings. Proceedings of the International Conference Applications of Labanotation, Motif Writing and Laban Movement Analysis: In Education, with Technology and as a Tool for Cultural Study, sponsored by Chinese Culture University (Taiwan) and Dance Notation Bureau (New York City), August 5-7, 2004, pp. 73-79.

2000 “Korean Dance Terminology: Politics and Words,” in 20th Symposium Proceedings. August 19-26 1998. Istanbul—Turkey. Proceedings of the International Council for Traditional Music, Study Group on Ethnochoreology. Special edition of Dans Müzik Kültür Folklora Dogra. Istanbul: Bogazici Universitesi Kuzey Kampüs, pp. 198-211.

1998 “What I Thought I Knew about Dance: Adventures in Research on Dance in Korea,” in 4. Dance Research Conference of NOFOD. Proceedings of the Conference, 13-16 November 1997 in Helsinki, Finland. Finland: Nordisk Forum för Dansforskning, NOFOD, (no pagination given).

1998 “Korean Dance in Hawai‘i: Immigrant Issues and Cultural Ownership,” in Kyemyŏng Taehakkyo Akademia Koreana, editor. Haeoe Hanminjok kwa Ch’a Sedae, Che 2-chip [Koreans Abroad and the Next Generation, Volume 2]. Korea: Kyemyŏng Taehakkyo Yŏn’guch’ŏ, pp. 335-345.

1998 “Tools for Movement Analysis: A Korean Application,” International Council of Kinetography Laban. Proceedings of the Twentieth Biennial Conference, August 9- August 14, 1997, held at the Hong Kong Academy for Performing Arts. Hong Kong: Hong Kong Academy for Performing Arts, pp. 129-138.

1996 “The Use of Space in Chinju Kommu,” International Council of Kinetography Laban. Proceedings of the Nineteenth Biennial Conference. Ohio: International Council of Kinetography Laban, pp. 39-51.

1995 “From Ritual to Entertainment and Back Again: The Case of Ch’oyongmu, a Korean Dance,” in Dance, Ritual and Music. Poland: Polish Society for Ethnochoreology, Institute of Art—Polish Academy of Sciences. Proceedings of the 18th Symposium of the Study Group on Ethnochoreology of the International Council for Traditional Music, August 9-18, 1994, Skierniewice, Poland. Pp. 133-140.

1992 “The Use of Space in Ch’oyongmu,” International Council of Kinetography Laban. Proceedings of the Seventeenth Biennial Conference, August 1-August 12, 1991. Ohio: International Council of Kinetography Laban, pp. 55-66.

1992 “New Trends in Korea,” Taipei International Dance Conference 1992, pp. 59-74.

1989 “Japanese Bon Dancing in Hawai‘i: a complex cultural phenomenon,” in Torp, Lisbet, editor. The Dance Event: A Complex Cultural Phenomenon. Proceedings from the 15th Symposium of the ICTM Study Group on Ethnochoreology. Copenhagen: ICTM Study Group on Dance Ethnology, pp. 54-61.

1988 “The Value of Universality in Dance Notation Systems, with Selected Examples from Labanotation,” in International Conference on Coordination Method Dance Notation and Application. Digest of Papers. Nanjing, People's Republic of China: Academy of Arts of China and Nanjing Institute of Technology, pp. 175-181.

1984 “How Much Does a Score Say?” Proceedings of the Thirteenth Biennial Conference 3-14 August 1983. Ohio: International Council of Kinetography Laban, pp. 104-106.

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1979 “Exploring Notation as a Research Tool: Implications of Selected Projects on Asian and Pacific Dance,” Proceedings of the Eleventh Biennial Conference, 13-22 August, 1979, International Council of Kinetography Laban. Ohio: International Council of Kinetography Laban, pp. 18-34.

F. Book Reviews 2009 “P’ungmul: South Korean Drumming and Dance. By Nathan Hesselink,” in Western Folklore. Vol. 68, No. 2/3 (spring/summer), pp. 363-365.

G. Other Publications 2017 “Korea: Porous Temporal, Contextual, and Geographic Borders in Dance, “ in Asia Pacific Dance Festival. Journeys. Printed program for event sponsored by University of Hawai‘i Outreach College and East-West Center Arts Program, pp. 30-33.

2014 “Continuing Legacies,” in Association for Korean Music Research Newsletter (spring), pp. 5-8.

2013 “Dance Journeys,” in Asia Pacific Dance Festival. Journeys. Printed program for event sponsored by University of Hawai‘i Outreach College and East-West Center Arts Program, pp. 14-20. (Available at http://manoa.hawaii.edu/outreach/asiapacificdance/wp- content/uploads/2016/09/2013AsiaPacificConcertGuide.pdf)

2011 Asia-Pacific Dance Festival. The Crossroads of Contemporary and Traditional Dance, editor and compiler. Printed program for event sponsored by University of Hawai‘i Outreach College and East-West Center Arts Program. (Available at http://manoa.hawaii.edu/outreach/asiapacificdance/wp- content/uploads/2016/09/2011AsiaPacificConcertGuide.pdf)

2011 “The Past in the Present: The Crossroads of Contemporary and Traditional Dance,” in Asia-Pacific Dance Festival. The Crossroads of Contemporary and Traditional Dance. Printed program for event sponsored by University of Hawai‘i Outreach College and East- West Center Arts Program, pp. 7-15. (Available at http://manoa.hawaii.edu/outreach/asiapacificdance/wp- content/uploads/2016/09/2011AsiaPacificConcertGuide.pdf)

1996 “Kim Ch’un-heung. A Living Treasure of Korea,” Asiana (in-flight magazine of Asiana Airlines), Vol. 8, No. 12 (December), pp. 16-24. (Adapted from “Kim Ch’on-hung: Portrait of a Performing Artist,” Transactions of the Royal Asiatic Society. Korea Branch, Vol. 66 (1991), pp. 45-59.)

1996 “Spirits of the Living,” Asiana (in-flight magazine of Asiana Airlines), Vol. 8, No. 5 (May), pp. 29-32.

1995 “Breath in Motion: The World of Korean Dance,” Morning Calm (in-flight magazine of Korean Airlines (December), pp. 54-62. (Co-authored with Andrew Killick.)

1993 “Korean Dance: An Introduction,” Humanities Guide. A Festival of Korea, (summer), University of Hawai‘i Summer Sessions Office, pp. 13, 18.

1992 “A Buffet of Dance in Korea,” Asiana (in-flight magazine of Asiana Airlines), Vol. 4, No. 4 (April), pp. 10-16, 18-19. (Adapted from “Dance in Contemporary Korea,” Korean Culture. Vol. 12, No. 3 (Fall 1991), pp. 10-21.)

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1991 “Chinju’s Dance Treasure,” Asiana (in-flight magazine of Asiana Airlines), Vol. 3, No. 10 (October), pp. 8-14, 16-17.

1988 “Bon Dancing in Hawai‘i, Servant of Many Masters,” in The Hawai‘i Herald (Honolulu, Hawai‘i). Part I, June 17, p. 6; Part II, July 1, p. 8. (Republication of “Japanese Bon Dancing in Hawai‘i: Servant of Many Masters,” Asian and Pacific Quarterly of Cultural and Social Affairs. Vol. XVIII, No. 2 (Autumn 1986), pp. 24-30.)

1982 “Indian Dance. An Art of Many Forms,” InnAsia. (Summer), pp. 13-17. (Co-authored with Damaris Kirchofer.)

1981 “Bon Dancing in Hawaii,” Honolulu. Vol. XVI, No. 5 (November), pp. 118-123, 152, 154, 156, 158-159. (Co-authored with Damaris Kirchhofer.)

H. Editorships and Editorial Services 2013-present Appointed reviewer, International Journal of Arts, Culture and Heritage (Malaysia)

2002-2011 Member of Editorial Advisory Board, Congress on Research in Dance.

2008 Invited content and copy editor for Korean Folk Dance, by Byoung-ok Lee. Seoul: Korea Foundation.

2001-2006 Member of Editorial Board, Society of Dance History Scholars.

1989-1993 Dance Research Journal (major scholarly journal in the field of dance). Editor

Periodic manuscript evaluator for numerous scholarly journals, including Han’guk Muyong Kirok Hakhoi [Korea Society for Dance Documentation], Dance Research Journal of Korea, Journal of Korean Studies (University of Washington), Dance Research Journal (USA), Dance Research (UK) and Dance Chronicle (USA).

SELECTED UNPUBLISHED SCHOLARLY WORK More than 100 invited lectures and presentations at conferences and universities on dance, Korean Studies, and movement analysis. These include: In Korea— • Asia Culture International Forum 2011, Research Center for Humanities and Research Center for Asian Dance, Kyŏngsang National University (Chinju) • Association for Asian Studies Conference (Seoul) • Chungang University (Seoul) • Ewha Woman’s University • International Conference of Korean Musicologists (Pusan) • Korea Association of Dance Critics and Researchers Four-Nation International Dance Forum • Korea Branch of the Royal Asiatic Society (Seoul) • Korean Dance Society (Seoul) • Korean Musicology Society (Seoul) • National Classical Music Institute (Seoul) • Pusan National University and Pusan Aesthetics Research Institute • Royal Asiatic Society, Korea Branch (Seoul) • Seoul National University • Society for Dance Documentation and History (Korea) (Seoul) • World Congress of Korean Studies, Academy of Korean Studies Elsewhere in Asia— • Center of Korean Studies, Hitotsubashi University, Tokyo, Japan

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• Institute of Korean Aesthetics (Pusan, Korea), and Sociocultural Research Institute of Ryukoku University (Kyoto, Japan), Pusan Korea • International Council for Kinetography Laban (various international locations) • International Dance Conference, When Tradition Modernizes: An Intercultural Dialogue (Jakarta, Indonesia) In Europe— • 4th international conference of Dance Research Forum Ireland, Connecting Communities through Dance (Derry/Londonderry, Ireland) • European Association of Dance Historians (Schwetzingen, Germany) • Iconography Sub-study Group of the Ethnochoreology Study Group of the International Council for Traditional Music (Bamberg, Germany) • Institute for Folk Dance and Music, University of Trondheim (Norway) • International Conference for Traditional Music Study Group on Ethnochoreology (various locations) • International Council for Kinetography Laban (various locations) • Nordic Forum on Dance (Helsinki, Finland) • Quniza da Danca de Almada International Dance Conference (Almada, Portugal) • Reading Dance Images Symposium, American Academy in Rome (Italy) • Roehampton University (England) • School of Oriental and African Studies, University of London • University of Copenhagen (Denmark) • University of Surrey (London) In the United States— • Asia Society (New York) • Association for Asian Studies/International Convention of Asian Scholars joint conference • Barnard College (New York) • Bowling Green State University (Ohio) • • Congress on Research in Dance • Hawaiian Historical Society • Northern Arizona Universitry • Ohio State University • Ohio State University, Department of East Asian Languages and Literature, and Folklore Program • Pennsylvania State University, Wooster College (Ohio) • Society of Dance History Scholars (various locations) • Southern Methodist University • University of California Riverside, Irvine, and Davis • University of California, Berkeley conference Corporeal Nationalisms: Dance and the State in East Asia • University of Michigan • University of Northern Arizona, Flagstaff • Wesleyan University Elsewhere— • Asian Migrations to the Americas conference, University of the West Indies, Trinidad • Auckland Museum (New Zealand) • International Council for Traditional Music, Rio de Janeiro, Brazil • University of British Columbia, Vancouver • York University, Canada

DANCE WORKS STAGED FROM LABANOTATION SCORES Fall 2001- Advisor for student restaging of traditional Korean dance, Ch’ŏyongmu, performed at Spring 2002 the first International Dance Notation Symposium, Seoul, Korea.

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CONSULTANCIES Fall 2017- Thinking Partner for Pew Charitable Trust grant awarded to Madhusumita Bora: Winter 2018 Brindabani Jatra—Weaving Dance & Divinity. A performance of Sattriya, an Indian classical dance form. Philadelphia Museum of Art, Pennsylvania.

2011-2012 Principal humanities scholar/advisor to film, Moving Home: The Legacy of Halla Pai Huhm. Produced and directed by Billie Lee. Premiere showing—Hawai‘i International Film Festival, Honolulu, Hawai‘i, October 2012.

Dec. 2010 Consultant, Khmer Arts, Phnom Penh, Cambodia. Taught workshop sessions on movement observation/analysis and interpreting images and old forms of dance notation. Consulted with research/documentation staff on their project to publish the writings of an important Cambodian dance master. Funded by US Ambassadors’ Fund for Cultural Preservation.

2008-2010 Invited by Korea Foundation (Seoul) to review and copy-edit two English-language book manuscripts by Korean authors, one on Korean folk dance and one on Korean court dance.

Spring 2005 Consultant to teachers and the World Folk Dance Curriculum Development Team of Cloud Gate Dance Schools for Children, Taipei, Taiwan. Conducted sessions relating to concepts of “folk dance,” appropriateness of traditional materials for children, and adapting materials for use within the curriculum in ways appropriate to both the children and the original materials.

2004-2005 International Advisory Committee, Asia Pacific International Dance Conference: Global & Local—Dance in Performance (July, 2005), organized by Cultural Centre, University of Malaya, and Ministry of Culture, Arts and Heritage Malaysia (Kuala Lumpur, Malaysia)

Fall 2000 Invited by Publication and Translation Program of Korean Foundation (Seoul) to evaluate English-language translations of selected dance entries for an encyclopedia of Korean culture.

Fall 1998 Resource person, University of North Carolina, Greensboro pilot project on Korean dance. Provided reading materials and engaged in e-mail exchange with graduate students.

Dec. 1996, Consultant to Center for United States-China Arts Exchange (Columbia University) May 1998 minority nationality project in Yunnan, China. Hosted by Kunming Nationalities Institute, presented lectures, workshops, and discussion sessions relating to cultural conservation and arts curriculum, particularly for dance. Consulted with faculty and administration on curriculum and faculty development.

August 1996 Consultant to Department of Dance, Royal University of Fine Arts, Phnom Penh, Cambodia. Conducted training sessions in movement analysis concepts for faculty and students.

Summer 1995 Evaluator for Center for United States-China Arts Exchange (Columbia University) minority nationality project in Yunnan, China. (The only dance specialist from the United States among a group of 12 Americans and 5 Asians.)

AWARDS, RECOGNITION, AND SPECIAL ACTIVITIES 2017 Special award from Korea Dance Critics Society for research on Korean dance and for

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work to disseminate information about Korean dance outside of Korea.

2003 Outstanding Publication award forbook publication Perspectives on Korean Dance from Congress on Research in Dance.

1999 Outstanding Service to Dance Research award from Congress on Research in Dance.

Spring 1998 One-month invited residency at Rockefeller Foundation’s Study and Conference Center in Bellagio, Italy to work on a book chapter relating to Korean dance.

Fall 1997 Designated one of University of Hawai‘i “Ninety Fabulous Faculty.” (Selection made by UH President, based on recommendations from deans, directors, and colleagues, to identify “highly acclaimed academics,” in celebration of 90th anniversary of the University.)

GRANTS Recipient of numerous grants for research, consulting, and travel to conferences, including:

From University of Hawai‘i— • Center for Asian and Pacific Studies • Center for Korean Studies • College of Arts and Humanities • Hung Wo and Elizabeth Lau Ching Foundation • Office of the Vice President for Research • President’s Advisory Funding Committee • Research Council • Research Relations • University of Hawai‘i Foundation

From Hawai‘i organizations— • Atherton Foundation • Committee on the 90th Anniversary Celebration of Korean Immigration to Hawaii • Cooke Foundation • East-West Center • Halla Huhm Foundation • Hawai‘i Community Foundation • Hawai‘i Council for the Humanities (formerly Hawai‘i Committee for the Humanities) • Hawai‘i Korean Centennial Committee • Hawai‘i State Foundation on Culture and the Arts

From National and International organizations— • Academy for Korean Studies (Han’guk Chŏngshin Munhwa Yŏn’guwŏn) • International Cultural Society of Korea (Han’guk Kukche Munhwa Hyŏphoe) • Korean Culture and Arts Foundation (Han’guk Yesul Munhwa Chinhŭngwŏn, known since 2005 as Han’guk Chung’ang Yŏn’guwŏn) • Korean-American Educational Foundation (Fulbright Program)

From organizers of conferences— • Academy of Korean Studies • Andong National University and Academy for Advancement of Korean Studies • Asian Cultural Council • International Cultural Society of Korea • Keimyung University

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• Korea Foundation • Korean Culture and Arts Foundation • Korean Studies Committee of the Association for Asian Studies in Korea

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IX. INVENTORY

(in process)

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