The purpose of this study is to investigate how Kazuo Ohno, the world’s oldest Butoh dancer, conducted his dance education at Soshin Girls’ School for 38 years as a gymnastics teacher, focuses on his teaching “dance class” and “Christmas pageant” in relation to his Butoh performance activity.
The research method was collecting the related literature and examining “Kazuo Ohno Archives” and conducting semi-structured interview with concerned persons of the school. His work was examined from the following perspectives: chronological table of education and Butoh works; dance teaching and choreography of massed calisthenics “Beauty and Power” in physical education; Christmas pageant and its costume. The result clarify that Ohno invited “free expression” of the students by asking “earnest question” which led them face to inner self, rather than “teaching forms” through dance and Christmas pageant. Ohno, as a teacher and a dancer, always faced with children and students with humble, dedicated and full of love and piety, and a series of his teaching method never changed after being recognized in the world, in which he drew out the human potential and expressed the theme of death and lives. It can be said that his attitude is an origin of creative dance and education, and it provides the clue for dance teaching method.

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This study is the discussion about teaching and viewpoints on “Improvised Expression” in the “Bodily Expression and Creative Dance”, which is in the area of “Expression Movement and Dance”at elementary and junior-high schools.
Focusing on the 4 teachers who have been continuing their practices (as longtime practitioners), each teaching process of “Improvised Expression” and the learning intentions were revealed. Each teaching methods of “Improvised Expression” and its viewpoints were then considered.
Consequently, it was acknowledged that there were differences in the acquire points for learners, as each teachers had their own points. It was also proved that the differences were resulted by their particular emphasis on either “ability of bodily image” or “ability to create expressive movement”. Moreover, it was also clarified that all the teachers had defined “common prompts” to inspire improvised expression of learners.

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Recently, Korea and Japan respectively notified people of “New Government Guidelines for Teaching” in 2008 and “2007 Revised Curriculum” in 2007 at the nearly same period of time. To understand the contents of Dance and the background of the changes in their new national curriculum, reexamination of the changes about the revised courses of both countries is required. Therefore, the purpose of this study is to arrange and take a general view of the changes of curriculum from the Second World War (1945) to the period before the new curriculum and, at the same time, to review the process of the new curriculum by comparing and analyzing them about the contents the elementary, middle and high schools’ dance in Japanese government guidelines for teaching and Korean curriculum.
The result has found as follow: The contents of dance account for a field of P.E. in the both countries. Its name was changed several times according to revision in the elementary school. But as for the middle and high schools, its name was consistently used as “dansu” in Japan and “buyo” in Korea. The main contents of the both countries’ dance consist of “expressive and creative dance” and “folk dance” focusing on them. The main contents of Japan’s dance consist of three ones as “rhythm dance” was introduced in it in 1998 and “the basic movement by the concept of the movement education” was done in the ones of Korean one from the fifth curriculum (1987) so that their contents recently show the differences between them. Also, the Korean characteristics are to exemplify “artistic dance”. As for completion, both countries all taught dance to female students but it became the field that female and male ones commonly completed it in Japan (1988) and Korea (1987). Comparison of the above changes implies the process of the significant differences (Especially, the big changes of Korea) in the dance contents in the new curriculum of the both countries and the causes which are the background.

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My concern in this paper is with the significance of introducing the method of body-conditioning into college-level physical education by analyzing the results of my lessons in a university. From my observations of students’reports and their class activity, it seems that Pirates-based body-conditioning not only had good effect to their physical body, but also brought them spiritual relaxation effect such as mitigation of stress or recovery of composure. Furthermore, students began to regard it as important that in their daily life they should pay attention to their own condition of body and arrange it for themselves. From this and other facts it was supposed that body-conditioning as one of the ways of maintaining the health of body and mind can occupy an important position in physical education at university.

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