The purpose of this study is to explore learner-centered strategies that enable safe and sustainable movement in dance education, grounded in the theoretical frameworks of Safe Dance Practice and Somatic Ballet®. A conceptual analysis was conducted based on a review of relevant literature. The findings identify three key strategies. First, the sensory awareness strategy is a learning condition structured at the beginning of class so that learners can monitor their physical state before engaging in movement. Second, the sensory regulation strategy proposes that learners to adjust movement based on their own bodily sensation, while referring to the instructor’s guidance. Third, the rest and recovery strategy reframes rest not as an interruption of training, but as a learning mode that prepare learners for subsequent movement. From this perspective, safety is understood not merely as injury prevention but as a learning condition that should be implemented within the educational structure of dance education. This study contributes a practical, learner-centered framework that supports students in recognizing and regulating their bodily states within the learning process.

This study examines the artistic significance and value production of choreographer Park Kihyun’s re-enactment performance based on Lakeside Adagio of Act I, of Swan Lake, focusing on the concepts of ‘prototype/archetype’ and ‘re-enactment.’ The analysis examines the original dance notation and musical score to investigate how the prototype of the classical ballet was documented and structured. It also conducts interviews with the choreographer and dancers and observes the rehearsal process to explore the embodied memory and experiential performance of the ballet master and dancers in the re-enactment process. The study argues that the original value of the classical work is preserved and transmitted not only through the physical conservation of notation but also through the bodily archive of the ballet master and dancers. Re-enactment in classical ballet is understood not as a passive repetition of the original text, but as an exploratory practice realized through the interpretation of documentation and the creative execution of embodied knowledge.

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.

This study aims to examine the moderating effect of work-life balance perception on the relationship between job autonomy, job satisfaction, and organizational commitment among professional ballet dancers. To achieve this goal, a survey (April - June 2024) was conducted among 151 professional ballet dancers (employed, freelance, temporary, and part-time) residing in Seoul and Gyeonggi Province. The results (PLS SEM) reveal that job autonomy has a statistically significant positive impact on both job satisfaction and organizational commitment, and that job satisfaction, in turn, positively affects organizational commitment. However, while work-life balance perception has a statistically positive effect on job satisfaction, it negatively moderates the relationship between job autonomy and job satisfaction. These findings suggest that although professional ballet dancers place high value on autonomy within their organizations, their demand for work-life balance may, paradoxically, detract from job satisfaction when both autonomy and work-life balance are highly prioritized.

This study aims to explore the life and art of Alexander Ekman, examining and critically analyzing the artistic characteristics of Ekman's reinterpretation of the classical work Swan Lake. The research discusses the multidisciplinary artistic elements present in this work from a critical perspective. For this purpose, the study utilized domestic and international video materials, reviews, and resources from Ekman's official website.The findings are as follows: First, from a choreographic perspective, Ekman structures the entire piece around the directorial element of 'situation,' integrating movements from ballet, tap dance, and musical theatre with theatrical elements to intuitively shape the performance. Second, he separates or deconstructs Tchaikovsky's original score while incorporating voice as an additional sound element and using the element of 'water' both visually and aurally. Third, Ekman employs dialogue from theatre to enhance dramatic situations and stage transitions, merging these with movement to expand the scope of his direction through the everyday nature of theatre. Fourth, he maximizes the effect of objects, stage sets, and installations to incorporate the mise-en-scene effect into the work.This study seeks to serve as a foundation for understanding the multidisciplinary and artistic innovations in Alexander Ekman's reinterpretation of Swan Lake.

The purpose of this study is to explore the common Korean characteristics in the works of choreographers who were active in the same era as choreographer Juri, of “Blue Dopo” This paper is a literature study, and the results are as follows. First, from 1955 to 1970 the influence of the Korean War and the military regime, encouraged a search for Korean culture, promoting choregraphers to produce work related to Korea. In addition, since the National Dance Company was the only “national” dance organization, it is believed that choreographers internalized the cultural reforms of the government and projected Korean characteristics into their works. Second, the core theme of “Blue Dopo”which was created by Juri adapting the Spanish folk tale “Triangle Hat,” is based on orean folktales, poems, folk paintings, and legends. Therefore the costumes combine hanbok and ballet tights, the music is Korean and Western, and both Korean dance and Western movement is combined. It is meaningful in modern art history to re-examine Juri’s addition of Korean ethnic characteristics to Western themes as she was the iinfluential first female choreographer and founding member of the National Dance Company.

This article examines how two ballet competitions influenced the decision of students in the Klang Valley to pursue ballet as a career. Although learning ballet is generally considered a leisure activity in Malaysia, a growing number of ballet competitions in the Klang Valley has influenced students to pursue ballet seriously as a discipline. Using ethnographic research by interviews and archival research, this essay analyzes how two ballet competitions have become commodified through branding strategies, dance competition categories, fees, and scholarships. My analysis of interviews with competition organizers, ballet school principals, ballet teachers, and students suggests that competition organizers commodify ballet competitions for economic opportunities. Nevertheless, the scholarships and opportunities offered by ballet competitions to prestigious ballet institutions overseas have encouraged students in the Klang Valley to pursue careers in ballet. As a result of participating in competitions, students have taken ballet training more seriously, resulting in a higher demand for coaching, thus generating greater capital flow into the ballet industry in Malaysia. Throughout this study, the importance of the intersection between dance and economy is highlighted.

This study considers methods develop a ballet educator training program that can improve ballet education in South Korea, where technique-focused training leads to physical and mental injuries and lack of artistry. A training program model is developed for ballet educators based on the philosophy of somatic dance/movement education, which integrates dimensions of body, mind, and spirit. The framework of the program was formulated by exploring the educational goals and principles of ISMETA, as well as factors such as ‘knowledge’, ‘autonomy’, and ‘peer networks’, presented in the international survey on education, TALIS. Then, we compared and analyzed domestic and international ballet educator training programs to select essential elements based upon the aforementioned three aspects. We made detailed programs such as ‘somatic dance/movement theory, movement anatomy and physiological dynamics, movement analysis, somatic ballet teaching method, dance education theory, and developmental psychology’ for the knowledge factor, ‘reflective practice’ for the autonomy, and finally ‘pedagogic workshop’ for the peer networks.

“Die Braut von Korea” (The Bride of Korea), a ballet composed by Josef Bayer and written by Heinrich Regel, premiered in the K. k. Hof-Operntheater (Imperial Royal Court Theatre) in Vienna, Austria on May 22, 1897. The ballet consists of four acts and nine scenes depicting a fictional love story between the Prince of Korea and his bride Daisha, against the backdrop of the Sino-Japanese War (1894 95). This ballet was performed 38 times in Vienna and 14 times in the Hamburgische Staatsoper (Hamburg State Opera) in 1899, but it disappeared suddenly from the ballet performance schedule in Vienna after 1901.

This study aims to analyze “Die Braut von Korea” based on recently published sheet music as well as articles of newspapers and magazines of the time, and explore why it was abruptly removed from the repertoire of the Imperial Royal Court Theatre in Vienna. First, we review the context in which the piece was produced as well as its popularity and status through the examination of historical records regarding the piece. Then, we discuss its composition and characteristics, and finally, explore the reasons for its sudden disappearance from the ballet repertoire in 1901.

The purpose of this study is to examine the growth process of professional ballet educator; the development process of ballet teaching professionalism. Following qualitative study paradigm, this study considers ballet educator’s life, training, and educational context. Specially based on phenomenological study, this study progressed from March 2011 to December 2012. Research participants are selected by traditional case selection(Miles & Huberman, 1994) and theoretical sampling(Strauss & Corbin, 1998). For data collection, literature review, pilot study, and in-depth interview were used. Collected data were analyzed based on qualitative method; Moustakas(1994) and Polkinghorne(1989)’s method. To achieve truthfulness and ethics of the study self reflection, triangulation, member checks, and peer debriefing were used. As a result, the development process of ballet teaching professionalism divided into four periods; initiate period of ballet teaching, progress period of ballet teaching, confront period of ballet teaching, and master period of ballet teaching. Each process shows not regular and straight form but complex and circular form. Especially during the progress and confront period show dynamic growths and conflicts. Based on the results and comments, I could propose educational efforts and follow-up research for ballet educator.