This study examines artificial intelligence (AI) discourse in Korean dance studies between 2017 and 2025 from the perspective of human–technological–bodily relational networks and investigates how AI is transforming the discursive structure of the field. To achieve this, phenomenological embodiment theory, posthumanist theory, and technology-mediated art discourse were employed as analytical frameworks, and a qualitative literature review was conducted on thirty-five academic articles published in Korean scholarly journals. The findings indicate that AI functions as an agent mediating bodily experience, creative processes, and modes of reception across the domains of education, creation, and audience engagement. As a result, the body is being reconstituted as a relationally-constituted entity, creation as a collaborative process, and reception as a participatory experience. Overall, AI discourse in Korean dance studies extends beyond discussions of technological application toward an exploration of how meaning is generated through human–technological–bodily relations, representing a discursive shift that calls for a re-examination of the concepts and boundaries of dance studies.

This study aims to examine the cultural relationship between the secularization of Taoism during the Ming dynasty and the formation and development of Haiyang Yangge (a folk dance from Shandong). Combining literature review and fieldwork, the study analyzes the relationship between the spread of secular Taoism in folk society during the Ming dynasty and the formative process of Haiyang Yangge. The study finds that Taoist elements were adopted, transformed, and reconstructed within folk performance traditions. This is manifested in the role structure of yuedafu the Bagua-related spatial organization, and the collective ritual functions associated with the Haiyang Yangge Dragon King ritual. The formation and development of Haiyang Yangge can thus be understood as the result of continuous interaction between Taoism and these folk dance traditions. This study deepens the understanding of the historical formation and cultural identity of Haiyang Yangge, while providing a theoretical foundation for the continuity and transmission of traditional culture in a contemporary context.

This study examines the aesthetic characteristics of the seungmu of Beopu Song Jaeseop, designated as the Intangible Cultural Heritage of Daejeon Metropolitan City. Having studied seungmu under Yi Maebang since 1989, Song Jae-seop established his own dance style by adding on his artistic interpretation. Through literature review, analysis of oral data, and comparative aesthetic analysis, this study identifies four aesthetic characteristics of this style. First, the beauty of inward restraint and condensation, which emphasizes stillness and breath before movement. Second, breath-centered physical expression, where deep and slow breathing determines the beginning and end of movements. Third, internal expression through jangsam (long-sleeved robe) that reveals the performer’s inner state rather than visual splendor. Fourth, the synthesis of locality and artistry formed by combining the aesthetic traits of Yi's style with Daejeon's regional characteristics. Consequently, this study confirms that the seungmu of Beopu Song Jaeseop is not a mere regional transmission of the Yi Maebang style, but a unique school reflecting the practitioner's performative life and artistic values.

This article explores the conceptual design and strategy for inscribing “Traditional Dance of Korea” on the Lists under the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. Rather than viewing inscription as cultural recognition or artistic evaluation, it examines how living dance practices can be defined, governed, and sustained within the Convention’s normative framework. The study comparatively analyzes dance-related elements on UNESCO’s Intangible Cultural Heritage Lists, classifying them by form, social context, and mediating components such as music, costume, craft, and ritual. It also reviews the case of Modern Dance in Germany to illuminate tensions between artistic genres and community-based cultural practices. The article argues that Korean traditional dance should be presented not as fixed repertoires but as a dynamic assemblage of knowledge, skills, transmission systems, and performance contexts continually recreated by communities. Successful inscription, it contends, requires integrated design encompassing community-centered governance, linkage with national inventories, and safeguarding measures that prevent decontextualization. It concludes by proposing single-state, multinational, and extension pathways, offering scholarly and policy implications aligned with sustainability, cultural diversity, and community agency.

This study compares the sugeon dance traditions of the Yeongnam and Honam regions to examine regional distinctions and cultural significance. Through literature analysis, comparative video review, and archival research, it identifies differences in rhythmic structure, handkerchief technique, and stage adaptation. The Yeongnam tradition reflects the formal aesthetics and restrained movement style associated with court dance through its Gyobang and Gwonbeon lineages. In contrast, the Honam tradition demonstrates dynamic expressiveness through the interplay of regular and syncopated rhythms and diverse handkerchief techniques. Centered on the respective transmission lineages, both traditions have formed significant strands in modern Korean dance while reinforcing regional identity and community cohesion. However, the study confirms the need to establish a comprehensive digital archive and strengthen international accessibility. By exmining regional diversity within the shared genre of sugeon dance, this study provides foundational material for the globalization of Korean traditional dance and discussions on cultural heritage. Keywords Traditional Dance, Yeongnam Sugeon Dance, Honam Sugeon Dance, Jeong Sosan, Sin Gwan Cheol

This study aims to investigate the Koreanity of dance and its implication by analyzing the images of seven Korean National Intangible Heritage(Jinju-geommu, Seungjeonmu, Seungmu, Cheoyongmu, Hakyeonhwadae Hapseolmu, Taepyeongmu, Salpurichum). The research methods consist of literature review and in-depth interviews conducted in four stages: a pilot survey, the first expert interview, triangular verification, and the second expert interview. The results are as follows. First, the elements constituting Korean dance images are identifed as “2B7S”(Beat, Space, Breath, Shape, Story, Sense, Sensibility, Spirit, and Self-control). Second, five attributes of Koreanity are derived from the dance images: “Asymmetrical Figures” (Eogeutjim), “Stooping Figures” (Ogeum), “Laying-the-Foundation Movements” (Teodajim), “Left-Center-Right” (Jwajung-u), and “Curving Interlock” (Hwinmatmulrim). Third, these five attributes carry the implications of asymmetry, centripetal orientation, expandability, balance, and circularity, respectively. It is hoped that this study will serve as a foundation for further research on Koreanity across dance studies and other fields.

This paper critically examines the concept and role of production dramaturg through Inner Grooming choreographed and directed by Kim Youngjin. In the 21st century, while awareness and acceptance of dramaturg are increasing in the domestic performing arts world, discussions on the concept and role of production dramaturg in dance creation remains underexplored and warrants further scholarly attention. The discussion draws on the characteristics of contemporary dance, the conceptual framework of the dramaturg, and an overview of Inner Grooming. To compensate for the scarcity of prior research, the study employs performance observation, program materials, dramaturg notes, and an interview with the dramaturg as primary sources. The analysis reveals that in the work Inner Grooming, Sako Kanako functioned as a production dramaturg throughout the entire production process, undertaking text analysis and research, script writing, assistant choreographer/director, and connection between the audience and the work.

The purpose of this study was to examine the effects of narcissism on self-management and performance confidence among university students majoring in dance. A survey was conducted with dance majors enrolled in four-year universities in Seoul, and a total of 363 valid questionnaires were analyzed using SPSS Version 23.0. Data analysis included frequency analysis, exploratory factor analysis, reliability testing, correlation analysis, and multiple regression analysis. The findings are as follows. First, narcissism had a statistically significant effect on self-management. Second, narcissism significantly influenced performance confidence. Third, self-management had a significant positive effect on performance confidence. These results indicate that narcissism functions as a psychological resource that promotes self-management and enhances performance confidence among dance majors. The findings suggest that, within pre-professional dance training contexts, certain dimensions of narcissism may contribute positively to psychological stability and performance-related competence.

This study aims to examine the value and transmission directions of dances designated as cultural heritage from the Five Northern Provinces (Ibuk 5-do) transmitted in South Korea: Hwagwanmu from Hwanghae Province, Pyeongyang Geommu and Pyeongnam Sugeonnchum from South Pyongan Province, Gim Baekbong's buchaechum (Fan Dance), and Hambuk Seonnyeochum from North Hamgyeong Province. The research research draws primarily on historical literature and institutional materials from the Five Northern Provinces Committee. The study confirms how practitioners transmitters have preserved the cultural heritage of the northern provinces through the Japanese colonial period and national division, and analyzes the artistic, regional, and educational value of each dance. The findings suggests the need for a sustainable transmission system: first, securing transmission records through archiving; second, establishing a systemic framework for research on dance genealogy and related music; third, expanding the designation of new genres and strengthening collaboration within the Five Northern Provinces Committee; and finally, establishing an online platform for the cultural heritage of the Five Northern Provinces. These proposals lay the groundwork for future extension to include other dance genres and yet undesignated cultural heritage.

This study aims to establish the category of Korean traditional dance, in which Korean aesthetic consciousness and spiritual culture are embedded. The purpose is to explore the cultural-historical and policy implications of its inscription on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. By analyzing historical literature and current state of domestic transmission, the study approaches the subject from perspective of ‘typical form [jeonhyeong]’ the intersection of tradition and modern transmission. The results confirm that dance forms redefined as stage arts in the modern era constitute the foundation of contemporary Korean traditional dance Furthermore, UNESCO inscription facilitates the globalization of the identity of Korean arts and shifts the policy paradigm from ‘preservation’ to sustainable ‘transmission and promotion.’ This study is significant in proposing a cultural-historical category for Korean traditional dance and presenting policy recommendations for UNESCO inscription. It serves as a scholarly and policy foundation encompassing both the preservation of archetypal forms and modern re-creation.