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 evolution of modern dance culture amidst the historical tribulations of the colonial era by analyzing dance photographs published in 1920s newspapers. Utilizing a literature review methodology, the research analyzes 317 photographs from Maeil Sinbo (154), Joseon Ilbo [Chosun Ilbo] (93), and Dong-a Ilbo (70). The analysis revealed three key findings. First, the photographs visually corroborate the heteronomous nature of dance culture under colonial rule. Second, they demonstrate the systematic assimilation of Japanese dance into colonial Korea. These images expose an imperialist agenda designed to manage and mobilize the colonized population under the pretext of artistic exchange. Third, despite such oppression, the photographs capture the emergence of a modern and subjective dance culture. This study holds significant value by providing a comprehensive pictorial understanding of the performing arts landscape during the Japanese occupation through the lens of newspaper photography. By re-evaluating these visual archives, the research illuminates the complex interplay between colonial hegemony and the pursuit of modern cultural identity in 1920s Korea.

This study examines how Han Seongjun’s aesthetics in Jeukheungmu were transmitted to Gang Seonyeong. Using documents from the Joseon Music and Dance Institute and oral accounts from Gang and her successor Gim Miran, the study employs an interpretive method. Han’s instruction- “gcombine the learned movements and create your own dance”-shows his view of Jeukheungmu as a form of individuality and inner freedom. Gang embodied this lineage through affective contrasts of stillness and sudden release and the coexistence of joy and sorrow. Testimony on the “six movements” confirms Jeukheungmu as a core creative-pedagogical system reflecting Han’s aesthetics. This study clarifies how freedom and emotion are inherited within Korean dance.

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 significance of shin minyo dance, a modern dance heritage that was popular from the 1930s to the 1960s, with particular focus on the works of Bae Guja, who created dances based on the folk songs Cheonan Samgeori and Doraji Taryeong. Employing a practice-based research methodology, the study centers on the processes of re-enactment and restoration, while analyzing the reproduction of these works in a contemporary context. The findings reveal that the living transmission of cultural heritage lies not merely in reproduction or restoration, but more importantly in the modern succession and sustainability of dance that reflects both national identity and regional characteristics. Furthermore, this research proposes creative methodologies for integrating the cultural value of traditional dance into contemporary society and underscores the significance of modern succession of modern dance heritage.

This study, focusing on the Lion Dance Act of Bukcheong Saja Noleum, explores the potential of traditional arts as creative resources in contemporary performing arts. The research employed a comparative cultural case study in conjunction with creative practice research. First, a review of literature and analysis of video materials examined the performance structure, dance movements, and symbolic system of the lion dance. Second, the researcher’s own choreographic practice, transformed the traditional movements and reconfigured them into new choreographic vocabularies. The findings revealed, first, that the themes, spatial pathways, music, and costumes of the lion dance were reconstructed in the creative work Lion Play, and second, that expressive symbolism emerged, highlighting apotropaic functions, reconciliation and coexistence, and the festive spirit of community. This study demonstrates how traditional arts can generate new meanings and aesthetic values within the language of contemporary dance, while also identifying points of connection between tradition and modern performance. Furthermore, it suggests the potential of traditional heritage-based dance creation to expand artistic practices and to serve as foundational resources in production, planning, and education within the performing arts.