This study examines the dance structure of Cheoyongmu from the early Joseon period as recorded in the Akhakgwebeom. The musical structure comprises Bonghwangeum IlgiㆍJunggiㆍGeupgi, Samjinjak, Jeongeubgeupgi, and Bukjeongeupgi, while the formations consist of linear (illyeol), pentagonal (obang), and front-rear (jeonhu) formations. The connection points between music and dance structure, and the starting and ending points of movements, differ according to the dancers' roles, resulting in overlapping and interconnected movements. The formations exhibit a cyclical structure, entrances and exits follow a transitional circling (hwemu) structure; facing and partnering configurations proceed simultaneously or individually for the central Hwang Cheoyong and the four directional Cheoyong according to linear and pentagonal formations, and movements proceed with left-right symmetry, repetition, and uniformity. These findings provide foundational data for the reconstruction and stage adaptation of court dance (gungjung jeongjae).

This study examines 70 instances of the Korean word chum(춤) found in ten Joseon-period eonhae (Korean vernacular translations) to investigate its earliest textual appearance and patterns of use through an analysis of its translation, orthography, and reference. The findings show that the earliest attested instance of chum in extant hangeul texts appears in Seokbosangjeol (1447). Chum was repeatedly selected as a translation equivalent for ‘舞’ and ‘儛’ and was used over a long period while maintaining a stable orthographic form. At the same time, it exhibited inclusive and open referential patterns that crossed diverse social conditions and boundaries of value. These findings reveal historical aspects of chum that cannot be fully captured from perspectives formed since the modern period and provide a basis for reconsidering perceptions of chum from a longer historical perspective.

This study qualitatively explored the changes in children who participated in long-term sogo dance classes and performances and the educational meanings of their experiences. In-depth interviews were conducted with nine children aged 7 to 9 and their nine primary caregivers who participated in sogo dance classes and a performance at Y Culture and Arts Academy over approximately nine months. Class journals and video recordings were also used as supplementary data. The findings reveal improvements in movement skills, the development of active learning attitudes and positive self-images, and an enhanced sense of community. The educational meanings of the children’s experiences were identified as joyful learning and expression, immersion, collaboration, and achievement. These changes and experiences were interconnected throughout the extended process of classes, repeated practice, and performance. The perspectives of both the children and their primary caregivers also confirmed how the sogo dance experiences extended into their homes and everyday lives.

This study aims to examine the structure of unconscious sensory expression in Hofesh Shechter’s Theatre of Dreams through Freud’s theory of dream-work. To this end, both a literature review and a performance analysis of [Hofesh Shechter’s Theatre of Dreams] were conducted, focusing on the mechanisms of condensation and displacement in movement, music, lighting, and spatial composition. We found that, first, the mechanism of condensation manifested as a physical entity through the visual signification of bodily movement, taking the form of collective bodies and the superimposition of contrasting movements. Second, displacement was expressed through the spatial dimensionalization of sound and lighting, revealing the fluid transfer of affect through intentional disjunction between music and movement and the displacement of sensory perception. Third, these phenomena resulted in the audience’s experience being unconsciously drawn into the nonlinear narrative structure. This study suggests that the expressive domain of contemporary dance is expanding beyond mere bodily play toward a sensory-centered total art form.

The purpose of this study is to examine the yeonhui dance culture in the Gyeongju region from the 15th to the 19th centuries. To that end, I analyze historical facts of performance culture documented in period sources,, including the Tongsinsa haengrok(records of missions to Japan), personal anthologies, and travelogues (yuramrok). The findings indicate that the courtesans (gwan-gi) of Gyeongju possessed exceptional skill, leading to their frequent selection for service in other regions and at the royal court, thereby expanding their activities nationwide. Multiple historical records confirm that they staged numerous performances primarily at official guest houses (gaekgwan) and in outdoor settings. Three characteristics distinguish these performances across the period.First, the performance spaces, the participating social classes, and the purposes of hosting . Second, the variety of dance repertoires varied. Third, while preserving its Silla prototypes, Gyeongju introduced variations producing a distinctive pattern of transformation These findings demonstrate that Gyeongju's performance culture during the Joseon dynasty maintained a distinctive regional identity shaped by the purposes and organizers of each occasion.

This study explores how dance experiences developed through playing Billy in the musical Billy Elliot have been remembered and reinterpreted in participants’ later lives. Ten participants who played Billy in the first and second casts of the Korean production participated in in-depth interviews. The data were analyzed using a narrative inquiry approach, focusing on the temporal and contextual continuity of their experiences from dance and role preparation to training, performance, and life after the production. The findings revealed four themes: entering dance and becoming involved in Billy Elliot; challenges and growth during training; expansion of dance experiences through performance; and reinterpretation of dance experiences in later life. Participants recalled that the experience expanded their dance experiences and was later understood in relation to self-management, responsibility, confidence, and artistic expression. These experiences were interpreted as retrospective meaning-making rather than direct causal effects, and continued to be reinterpreted in relation to participants’ subsequent careers and life contexts.

This study examines the current status and significance of cultural and arts education for children and adolescents with Borderline Intellectual Functioning (BIF), focusing on dance education at Yeroom Arts School and Yeha Arts School. Students with BIF often experience cognitive, emotional, and social difficulties while receiving limited educational support because they fall between general and special education systems. The findings indicate that cultural and arts education, particularly dance education, demonstrated the possibility of having positive effects on self-expression ability, self-esteem, social skills, emotional stability, and physical and cognitive development. The educational practices of Yeroom Arts School and Yeha Arts School showed that arts-centered education can exert effects to a certain extent on school adaptation and social growth for students with BIF. Based on these findings, this study suggests the need for institutional support, specialized program development, teacher training, and expanded policy support for cultural and arts education for children and adolescents with Borderline Intellectual Functioning.

This study examines whether the dancing body, defined as a corps-pensée through Alain Badiou's inaesthetics, continues to function as such under digitally mediated conditions. Drawing on the virtual movement that Badiou posits as the essence of dance, the study reconstructs his six principles of dance into three dimensions—space, body, and gaze—according to what each principle defines, and uses these as the analytical framework. The analysis focuses on three scenes from the video record of William Forsythe's The Barre Project(2021), in which these dimensions intersect with mediated conditions: the Zoom meeting, the movement around the barre, and the hand close-up. The analysis finds that across all three, mediation does not weaken dance as a thinking body but opens its conditions in ways unattainable on stage, offering one perspective for reading digitally mediated contemporary dance aesthetically.

This study examines Hofesh Shechter's Theatre of Dreams through Walter Benjamin's concept of phantasmagoria, asking how the sensory conditions of modernity are organized on stage. It draws on field observations of both performances of the Korean premiere at the Seongnam Arts Center in March 2025 and on the performance program. At the bodily level, the gambler, the flâneur, and the collector serve as operational categories for movement that is triggered and repeated; at the temporal level, duration, repetition, interruption, and juxtaposition constitute continuity and rupture together; at the spatial level, curtains and lighting reveal certain bodies while concealing others. In all three, perceptible outcomes are selectively separated from the conditions that organize them. The phantasmagoria in this work is not a form that conceals everything but one that selectively distributes what is brought to the fore and what is left behind-revealing that the sensory reality of the modern subject is constituted within conditions already selected and arranged.

This study explores the possibility of building dancers' digital legacies that preserve and re-present their dances in three dimensions even posthumously. Dance vanishes as it is performed, and current records are concentrated in two-dimensional social media videos. This study reviews the literature on AI-based 3D reconstruction and extended reality through a four-layer analytical framework. While 3D motion recovery and photorealistic appearance reconstruction are maturing rapidly, no study has been found to have integrated and validated both layers within the dance domain. Accordingly, this study surveys the extant records of Choe Seunghui and proposes construction scenarios distinguishing posthumous archive-based from lifetime capture-based approaches; examines institutional challenges including choreography copyright; the potential of extended-reality-based dance education; and a three-stage research road map for future research. This study provides a foundation for extending extending dance documentation from flat video to volumetric data.