This study chronologically analyzes the institutional changes of the Seoul Dance Festival(SDF) using the framework of New Institutionalism to identify the festival’s function as an institutional field where national cultural policy, the artists’ community, and social discourse intersect. The research employs a three-tiered analytical framework —policy history, institutional history, and cognitive discourse—to structure the festival’s stages of formation, transition, and institutionalization. The analysis reveals that the SDF’s institutional evolution accompanied the complex interplay of regulative, normative, and cognitive factors. Key drivers included internal critical discourse from the dance community, the national cultural policy’s ‘Arm’s Length Principle’, and the exogenous pressure of adopting ESG-based operations. This empirically demonstrates the realization of Discursive Institutionalism, where social values such as fairness, transparency, and sustainability become internalized as institutional norms. Ultimately, the Seoul Dance Festival transitioned from a ‘regulative institution’ focused on administrative efficiency to a ‘discursive institution’ that has internalized social trust and value. This confirms the shift in Korean arts administration from an emphasis on efficiency rationality to a cultural rationality centered on social discourse.

This study conducted a systematic literature review(SLR) of empirical research on international students majoring in dance in Korea published between 2020 and 2025, examining research topic trends and methodological characteristics. Using PRISMA 2020 guidelines and the Mixed Methods Appraisal Tool(MMAT, 2018), the analysis revealed a strong predominance of non-randomized quantitative studies (81.6%) and a limited presence of qualitative research (2.6%). Findings indicated that the career development, university adaptation, and psychological experiences of international dance students were shaped through interactions within sociocultural contexts and the artistic practice of dance, rather than being confined to individual factors. However, existing studies largely adopted an individual-variable-centered approach, with limited integration of cultural and educational contexts. This review provided foundational insights for advancing the internationalization of dance education and improving research quality on international students.

This study examined examine the effect of resilience on dance performance confidence of university students majoring in modern dance and to investigate the mediating role of psychological well-being in this relationship. Data were collected from 154 modern dance majors across Korea using a non-probability sampling method, and an online survey was employed for analysis. The validity and reliability of the collected data were confirmed through factor and reliability analyses, followed by multiple regression analysis and mediation analysis based on the procedure proposed by Baron and Kenny (1986). The results indicated that resilience had a significant positive effect on dance performance confidence, and that psychological well-being was found to mediate this relationship.

The purpose of this study is to examine how Gyeonggi-do Dang-gut has influenced contemporary dances that use jinsoe as a prop and to explore the ways in which these dances have developed. As research methods, prior studies were reviewed, and video materials were analyzed. Dances that utilize jinsoe and have been inherited and developed from the lineage of Gyeonggi-do Dang-gut include Lee Yong-woo and Kim Sook-ja’s Turbulim Dance, Lee Dong-an’s Jinsoe Dance, and Jo Heung-dong’s Jinsoe Dance. This study investigates the origins, forms, and artistic characteristics of these dances, as well as their relationship to the roots of Gyeonggi-do Dodang-gut. All of these works employ the rhythmic patterns (jangdan) of Gyeonggi-do Dodang-gut and either transform actions derived from the ritual sequence of gut into performing arts or transmit them through the formalization of artistic works. Jo Heung-dong’s Jinsoe Dance is further identified as a creatively developed work grounded in tradition.

This study examines pre-service teachers’ educational perceptions of digital physical expression activities while utilizing lifelogging tools such as Mocopi and Padlet with 58 pre-service teachers from two departments at C National University of Education.. Using Q methodology, the study proceeded through the following stages: the development of Q statements related to the research topic, the selection of participants as the P sample, and factor analysis to identify types of educational perceptions. As a result First, the Active Acceptance and Selective Utilization groups highlighted the positive aspects of lifelogging, including memory support, personalized learning experiences, and creative self-expression. Second, the Avoidant and Indifferent groups pointed out negative factors, such as concerns about privacy invasion, psychological burden, and digital fatigue. Third, the findings emphasized the need to provide user-tailored solutions for effective adoption. Fourth, lifelogging-based physical activities with Mocopi and Padlet were shown to foster social presence and strengthen mutual connectedness among learners.

This study examines the entire creative process of the dance work Dance Speaks for Me to articulate the choreographer’s stylistic approach and artistic philosophy. Using Practice-Based Research (PBR), the research analyzes the stages of conception, choreography, rehearsal, performance, and post-performance reflection. The findings reveal that dancers’ bodies function as active agents that generate narrative meaning through sensory experience. Sensory-based movement exploration facilitates the emergence of natural and organic movement qualities, extending choreography beyond formal composition toward philosophical and relational dimensions. This process identifies three core movement characteristics: immanence, narrativity, and resonance. The study further confirms that not only the final outcome but the creative process itself operates as a central choreographic principle. Consequently, the choreographer’s artistic philosophy and style are systematized around sensory awareness, while democratic communication between choreographer and dancers proved essential in fostering dancers’ growth as expressive subjects rather than passive performers.