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For more details on the courses, please refer to the Course Catalog

Code Course Title Credit Learning Time Division Degree Grade Note Language Availability
COV7001 Academic Writing and Research Ethics 1 1 2 Major Master/Doctor SKKU Institute for Convergence Korean Yes
1) Learn the basic structure of academic paper writing, and obtain the ability to compose academic paper writing. 2) Learn the skills to express scientific data in English and to be able to sumit research paper in the international journals. 3) Learn research ethics in conducting science and writing academic papers.
COV7003 Academic Writing and Research Ethics 3 3 6 Major Master/Doctor SKKU Institute for Convergence Korean,English Yes
This course trains graduate students to become more effective, efficient, and confident writers. This is a hands-on course that emphasizes interactive examples and practice. In the first four weeks, we will review principles of effective writing, examples of good and bad writing, and tips for making the writing process easier. In the second four weeks, we will examine issues specific to scientific writing, including: authorship, peer review, the format of an original manuscript, and research ethics. Students will complete editing exercises, write two short papers, and edit each others’ work. The primary audience is graduate majors, graduate students in any disciplines, and professional scientists.
DES4001 Convergence Capstone Design 3 6 Major Bachelor/Master Design Korean Yes
Various students from different majors, Design, Art, IT, Business, Engineering, and etc., are gathered to study the development of future new technology, services and creative design products. Also, they are processing the prototype of the study and supporting the application of effective ideas. The purposes of this study are to overcome the present level of studies' approaches and create new and innovative values and to acquire creativeness, Problem Based Learning skill, and ability to conduct Team Project.
ERP4001 Creative Group Study 3 6 Major Bachelor/Master - No
This course cultivates and supports research partnerships between our undergraduates and faculty. It offers the chance to work on cutting edge research—whether you join established research projects or pursue your own ideas. Undergraduates participate in each phase of standard research activity: developing research plans, writing proposals, conducting research, analyzing data and presenting research results in oral and written form. Projects can last for an entire semester, and many continue for a year or more. SKKU students use their CGS(Creative Group Study) experiences to become familiar with the faculty, learn about potential majors, and investigate areas of interest. They gain practical skills and knowledge they eventually apply to careers after graduation or as graduate students.
SKD4002 Analytical Study of Dance/Movement 2 4 Major Bachelor/Master Korean Yes
The purpose of this course is to understand concepts and methods for dance movement analysis. The course investigates structures and qualities of movement as well as characteristics of dance style and form.
SKD4003 Dance Criticism 2 4 Major Bachelor/Master Korean Yes
This course objects to examine methods of dance criticism. It will be explored and practiced through the analysis of existing works on video and/or live performances. At the end of the course, students will gain experiences that will provide tools and context that complement choreographic skills and discourse.
SKD4004 Dance Literacy 2 4 Major Bachelor/Master Korean Yes
Drawing on a wide range of frameworks and discourses, the focus of this course is on the exploration of dance as art, as a career and its role in society. These perspectives will be examined from its historical roots to is aesthetic, cultural and philosophical evolution into contemporary society. This course objects to cultivate creative thinkers to perceive, examine and evaluate different points of view through in-depth examination of contemporary discourse of dance. The course is delivered through; interactive lectures, individual and group tasks, group discussions, reading and analysis of literature, viewing and analysis of dance works. By the end of the course, the students should be able to: Demonstrate in-depth comprehension of contemporary discourses of dance. Demonstrate critical engagement with the work of key dance practitioners and their practices. Draw on a range of frameworks and discourse to articulate and debate issues pertinent to dance in contemporary contexts.
SKD5007 Seminar in Korean Dance History 3 6 Major Master/Doctor 1-4 - No
Explore the characteristics and universality of Korean dance by analyzing the notable trend of the foundation and development of dance from ancient period to contemporary period. The objective of this lecture is to establish the academic system and appropriate choreographers for Korean dance.
SKD5018 Seminar in Dance Criticism 3 6 Major Master/Doctor 1-4 Korean Yes
Observe the critique’s subject, evaluation, interpretation and philosophical concepts. Among the critique and review, which is considered as a general evaluation, analyzes the ballet critique and process of critiquing. The objective is to extend the analytical skill and capability of a dance critic.
SKD5035 Cultural Studies of Dance 3 6 Major Master/Doctor 1-4 - No
Cultural studies is an umbrella term that includes theoretical approaches drawn from post-structuralism, post-colonialism, multiculturalism, contemporary Marxism, new historicism, semiotics, psychoanalysis, deconstruction, and feminism. Cultural studies has developed interdisciplinary discourses of the body. The key issues of cultural studies offer a new understanding of dancing bodies and open up a possibility for dance scholarship to go into wider academic communities. This course explores issues of ideology, subjectivity, identity, social categorization, gender, race, class, and aesthetic practices represented in dance, in relation to "social power."
SKD5036 Choreutics 3 6 Major Master/Doctor 1-4 Korean Yes
Space or the Space Harmony is a system to look at the route drawn in the space and analyze its form and design. Laban believed that there is a harmonious form even in all the movements like music or fine art, and thought that the trace forms created by the physical movement through the effort and shape in space have formal and measurable association in the harmonious and natural relationship. The concept about the ‘Space Harmony’ can be listed such as following: - It is the inner architecture that resists and gets away from the gravity organization to build a structure supporting the structure that has nothing to do with gravity. - The movement is a manifestation of consciousness and sub-consciousness and the space makes it possible to look at and remember that. - The harmony should necessarily be in consistency, unity and balance. - The harmonious scale of the space contains the axis of direction, balance of form and natural rhythm that suit the order going on according to its form.
SKD5058 Dramaturgy 3 6 Major Master/Doctor 1-4 Korean Yes
This course aims to understand a role of dramaturge and historical process from the institutional system of theatre the dramaturge made her appearance in the field of dance relatively late. Recently dramaturgy is emphasized as main process of art-making with collaboration and interdisciplinary research in contemporary art. It was prompted by current artistic process and often regard them as just as or even more important than the choreographic work itself. Originally the term of dramaturgy has migrated from theatre, and this appeared in late 1970s German tanz theatre represented by Pina Bausch. And it seems that more and more European choreographers and performance makers and even theorists nowadays are interested in integrating a function of that name. In this course I would like to 1) historically contextualize the rise of dramaturgy in dance through linking it with specific artistic developments since Bausch`s Tanztheater. I will also discuss, 2) in the light of many case of practice as dramaturge, some of the various concepts and approaches to dramaturgy: from outside eye(aesthetic, context) to physical(experiential) dramaturgy, from treating documentation and databases to making dialogue with choreographer. Also, 3) I will encourage students to apply choreological method which is able to analyze choreography in perspective of microscopic and contextualized. Choreological methodology is one of practice based research and it is useful to observation, analysis,
SKD5060 Research in Dance Studies 3 6 Major Master/Doctor 1-4 Korean Yes
This module provides a core body of understanding for the postgraduate level, enabling the in-depth studies on the dance theories developed in the USA and in the UK. While dance has been part of university curriculum in America since the early 20th century, the focus, at the time, has been on part of the physical education. Nonetheless, by the 1960s university dance educators, both in the USA and in the UK, have began to develop dance as an independent academic discipline, through the formation of its own theories and methodologies. The module overviews the trajectory of this methodological development, and aims to identify the different theoretical traits, shown between the dance disciplines of these two countries. For instance, the works of Janet Lansdale are addressed to understand the theory of dance analysis, developed in the UK; while the works of Susan Leigh Foster and Ann Cooper Albright, in the US, are viewed to comprehends the method of theorizing choreographic processes and the embodied experiences. These works are selected as they isolate two main methodological stands of dance studies, namely the “analytic research” and the “embodied research”. In general, the course also outlines the contemporary developments in dance studies, by exploring the works of key figures who contributed in forming inter-disciplinary approaches of dance anthropology, dance history, and dance philosophy. By viewing such studies, the module also develops a general understanding of stru
SKD5061 Somaesthetics in Dance 3 6 Major Master/Doctor 1-4 Korean Yes
Dance is defined as any patterned, rhythmic movement in space and time. A broad definition of this sort, which refuses to distinguish between human and non-human motion. The three theories of art as imitation, expression, and form are especially useful. Also, we distinguishes between representation and expression and analyse some of the main types of symbolization or reference that occur in dance. Dances and choreographers of Baroque Dance, Romantic Ballet, Classic Ballet, Modern Dance, Neo-classic Ballet, Post-Modern Dance, Contemporary Dance are introduced and analyzed. The idea of the dance starts from Aristotle. Aristotle declares that the dance interprets and imitates life. For the soaring of the dancer through space, for the inherent beauty of this divine sport, the philosophers substitute the concrete excellences of the sign language. Aristotle’s definition is at the root of all the battles the ballet has fought from Jean-Georges Noverre, who terms it an art of imitation designed to ‘copy nature faithfully and to delineate the emotions upon the stage,’ down to Michel Fokine, who, in his turn, championed the dramatic ballet aginst the great formal ensembles, stylized and abstract, arranged by Marius Petipa, the French ballet-master who reigned for half a century over the Russian dance.
SKD5062 Dance and Technology 3 6 Major Master/Doctor 1-4 Korean Yes
“Dance and Technology” is a course designed to inspire dance-major students to engage with diverse and dynamic technological flat forms and media. Art has been changed and re-imagined upon the development of technology, and dance has both influenced and been influenced by this technological shift. The course’s approach to dance and technology is inclusive and convergent: technology includes print, photo, film and video, computer, web, interactive media, motion-capture, IOT, and new media; dance includes art dance, non-art dance, pop culture, and performance. Thus, the course investigates not only the specific realm of ‘video dance,’ but also strict recordings of concert dance works, documentary films, media performances, web performances and so on. Overviewing these diverse phenomena combining dance and technology both synchronically and diachronically, as well as both theoretically and practically, it aims to envision the ontology and epistemology of dance in the era of technology.