Nine Songs is one of Lin Hwai-min’s most important works. As one of the features of Nine Songs, it combines traditional Chinese culture with western modern dance techniques and accepts the way of thinking of modern dance to create a fusion of traditional Chinese culture. In this study, the work Nine Songs serves as the research object, and various perspectives are used to analyze the cultural background and the fusion of East and West in this work. In addition to serving as a valuable reference for the study of the fusion of traditional dance with modern one in East Asia, this research is of great significance in expressing the aesthetic fusion of Chinese and Western dance in order to promote modern dance development.

This paper analyzes the author’s piece entitled “After Beginning and Before the End”, which explores the relationship between the creation process of Chinese characters and dance, drawing upon the Tao-te-ching of Laozi. As per Laozi’s concept of ‘Tao’, all creation changes from a simple to a complex state, with a wide variety of possibilities in the process. We intended to make the rediscovery of all creation suggested in the Tao-te-ching of Laozi into a piece of a choreography by applying the minimum unit of Chinese characters and their shapes as the principle for generating dance movement. This research proposes the method of dance composition from the perspective of the redevelopment of all creation presented in Laozi’s Tao-te-ching.

Wu XiaoBang new dance art aesthetic thought is examined in this paper in order to shed light on the significance of revolution and progress. XiaoBang critically adapted both western romantic ballet and German expressionist dance, and developed the essence of Chinese classical culture. He proposed a new dance art in accordance with aesthetic in the new era of China. Based on a literature review, this study analyzed the aesthetic thought of new dance art from four aspects: dance performance, dance creation, dance education and dance theory. Research papers on new dance art, one-line books and critical essays are used to analyze the development history of modern dance in China and to understand the formation and development of new dance art. In summarizing Wu XiaoBang formation and development of new dance art aesthetics, this research makes a significant contribution to the development of dance discipline and training principles.

The purpose of this study is to understand the status and experience of online practical classes for dance major students in the COVID-19 situation. As a result, suggestions for improvement are as follows. First, instructors should provide various types of teaching strategies by utilizing the LMS. Second, colleges should provide and improve the online educational environment for instructors and learners. Last, learners should find a balance between freedom and control of online classes. Based on this study, it aims to help learner-centered effective instructional management and lecture quality improvement, and furthermore, it aims to provide basic data to respond to changes and future of dance education facing online classes.

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.

The purpose of this study is to better understand how Z-generation dance majors respond to different types of dance professors. We surveyed 252 graduates of higher education institutions using independent sample T-tests and one-way ANOVA. Then we analyzed the data to determine whether differences can be observed in a statistically significant way according to the general characteristics of respondents. There was a difference in preference for types of dance professors according to respondents’ age and major. According to our study, Z-generation dance major students prefer to receive education from professors with self-directed and democratic approaches to learning. Consequently, it was concluded that university education requires democratic changes in order for students to be able to participate in decision-making. The results of this study are expected to contribute to improving the effectiveness of dance education, as well as directing future higher education.

This study explores the primary issues in international performing arts exchange in the post-COVID-19 era. In our in-depth interviews with dance artists, each with over eight years of experience in international exchange before and after the pandemic, we witnessed the challenges and opportunities posed by the current pandemic situation. We used phenomenological methods to analyze the interview data. Our analysis revealed four problems: (1) the gap between live performance and recorded online performance; (2) the lack of equitable collaboration between artists and arts administrators; (3) the lack of diverse approaches and forms of support; and (4) the increase in barriers to international performing arts exchange. Our findings suggest countermeasures, such as: (1) balanced support both for live performance and online performance; (2) more flexible communication between artists and administrators; (3) adoption of more diverse and creative modes of international exchange; and (4) provision of training and education to promote artists’ access to and mobility in international artistic exchange.

The purpose of this study is to examine the historical background and culture of the four ethnic groups, namely, Mongolian, Uyghur, Tibetan, and Korean-Chinese, and to derive cultural characteristics of their folk dances by examining how their ethnic culture has been embodied in the dances. In China, a multiethnic, multicultural country with 56 ethnic groups, dances performed in each ethnic group is part of life formed based on the cultural and geographical background of the group, and the contents, form, rhythm, and style of the dances were all formed and inherited in various ways due to differences in lifestyle and religious culture. Among those ethnic groups, Mongolian, Uyghur, Tibetan, and Korean-Chinese are the most localized ethnic minorities distributed around China's borders, and their folk dances have spread nationwide faster than those of any other ethnic groups. In order to promote the preservation and development of civil folk dances, it is necessary to examine the folk dances that are currently being preserved and developed and understand their cultural characteristics. By examining these characteristics, this study seeks to contribute to accurate perception of civil folk dances and to their preservation and development.

The purpose of this research is to confirm the value of the New Folk Song Dance in the history of modern Korean dance. Based on literature review and video analysis, this research investigates the characteristics of the New Folk Song Dance by analyzing the dance movements of ‘Cheonan Samgeoli’, ‘Nillilia’, and ‘Cheonyo Chonggak’ in cultural films reproduced under the direction of the Society for Dance Documentation and History. Based on the dance analysis theory of Janet Adshead, the characteristics and values of New Folk Song Dance were explored by analyzing the components of dance (movement, dancer, visual and auditory environment) and the nature of dance (genre and style). The result of this research shows that the New Folk Song Dance has the characteristics of cultural expressions of modern dance through which we can enjoy occidental music as well as traditional one. The dance is composed of simple and repetitive movements as well as a variety of formation, which makes it very easy for the public to learn. This allows us to confirm the value of the New Folk Song Dance as another type of modern dance heritage, ultimately leading us to redefine the perspective of modern dance culture.

This study aims at reevaluating the artistic realism of Choi Seung-hee’s works not only in her full-length dramatic dances after her defection to North Korea but also in her early modern dances with the theme of social participation. The kind of realism that she had pioneered in dance field in 1930 continued into her proletarian dance but discontinued between 1933-1945 due to severe criticism from home and abroad. This study ascribes the undervaluation of her activities in this period to the male mainstream perspective of the society and the decline of proletarian literature. f After her defection to North Korea, Choi’s proletarian dance developed into full-length dramatic dance, which can be referred to as the stage of her completion of socialist realism. The full-length dramatic dance has great meaning in the Korean dance history in that: first, it elevated “dance as art” to a higher level; second, it held a feminist perspective; and third, it achieved a high degree of completion in terms of choreography. Henceforth, Choi Seung-hee’s activities as a pioneering realist dancer in Korea deserves reevaluation in the Korean dance history.