This study was to examine the achievements of major organizations that influenced the development of the dance world in Busan and to present their opinions on the direction of efforts to develop in the future. In this study, data were collected and analyzed through the literature review and the results were as follows. First, Busan Branch of The Korea Dance Assoiation played a central role in the Busan dance world. Second, Busan Folklore Conservation Association has worked hard to preserve and foster Busan's folk dance. Third, Busan Metropolitan Dance Company contributed to popularization by creating and performing various works representing Busan. Fourth, the dance department of a university located in Busan has been the main focus on cultivating talent through dance education. Fifth, Busan International Dance Festival Orgnizing Committee diversified and publicized dance performances, and also achieved dancers' overseas expansion.

The purpose of this study is to illuminate the development and characteristics of dances in the area of Seoul based on achievements and significant contributions of Han Seong-jun, a master of Korean traditional dance. The study period spans from 1908, when Han Seong-jun settled in Seoul, to 1941, the year of his passing. Research methods involve literature related to Korean music and dance, as well as examining newspaper materials. The research focuses on Han Seong-jun’s dance lineage within traditional dance. The findings reveal that dance evolved through both theatrical and private arts organizations. In the early 1900s, Seoul-based dances, following Han Seong-jun’s legacy, were performed by artists associated with various private arts groups, gradually transitioning into commercialized, staged, and entertainment-oriented forms. From a traditional and creative perspective, dances are categorized into those transmitted and performed continuously and those that have disappeared and are now being revived. From today’s perspective, the approximately 72 works that Han Seong-jun staged, restructured, and created can be considered ‘Han Seong-jun style new tradition’. Most of the works have been destroyed, but there has been a movement to restore and reproduce them recently.

This study investigates the necessity of training methods in performing traditional Korean dances and suggests a possibility of using them. To this end, Bae Junghye's Korean dance training method was used to describe and analyze traditional dance movements. Bae Junghye’s method can be utilized for the following reasons. First, it helps dancers practice and strengthen movements during their training. Second, it can be appropriately applied depending on the purpose of movement expression. Third, it can be used for basic exercises before performing a dance. Fourth, systematic training of movements is possible through Bae Junghye’s Korean dance method.

Dance majors' dance emotional expressiveness is based on their body-emotion integration, which impacts their level of performance engagement. Through training to improve the expression of dance emotions, dance majors learn to identify and express their feelings. In this study, 507 Chinese majors in contemporary dance were asked to evaluate the relationship between dance emotional expressiveness and performance participation using emotional intelligence. The findings demonstrated a substantial relationship between dance emotional expressiveness and emotional intelligence, as well as a significant relationship between emotional intelligence and performance engagement. Furthermore, it was discovered that the relationship between dancers' emotional expressiveness and performance involvement was mediated by emotional intelligence. This study is important because it sheds light on the relationship between Chinese contemporary dance majors' performance engagement, emotional expressiveness, and emotional intelligence. This information will help develop better teaching strategies and curricula.

This study aims to reconsider the historical and cultural value of Jeonju Daesaseupnori by examining its 50- year history and acknowledge its status and meaning of existence. Accordingly, this paper summarizes the origin and formation process of Jeonju Daesaseupnori, which was revived in 1975, and identifies the way in which it was developed into the largest festival of pansori in the late Joseon Dynasty from various folk martial arts and performances practiced during the reign of King Sukjong. This paper also organizes the cultural value of Jeonju Daesaseupnori into the following five categories: historical, symbolic, community, aesthetic, and sustainability.

This study aims to explore the potential development of Jeonju Daesaseupnori by analyzing the recently popularized reality survival competition programs. The research focuses on identifying strategies that could enhance the popular appeal of Jeonju Daesaseupnori while preserving its traditional artistic values, through a literature review and analysis of previous studies. The results suggest applying key elements of survival competition programs, such as competitive narratives and public participation, to Jeonju Daesaseupnori. Specifically, this includes fostering fandom culture centered around expert listeners (Gwi-myeongchang), expanding opportunities for public participation in competitions, and introducing competitive storytelling systems to create new content. This approach is significant in that it explores ways for Jeonju Daesaseupnori to gain wider public support and further grow as a prominent K-content.

This study aims to improve the Performing Arts Archive Platform 'Byeolbyeol Stage' operated by The National Theater of Korea Museum of Performing Arts into an archive web service that reflects the characteristics of performing arts. To this end, I examined the current status of the museum's archives and accumulated information resources and derived the problems of 'Byeolbyeol Stage'. To improve the website, the digital curation strategy derived from the literature study was applied to 'Byeolbyeol Stage' and a relationship visualization and record linkage service plan was devised to suit the characteristics of performing arts. The proposal was made in consideration of the flexibility and ease of use of users who use various archival web services centered on performing arts.

This study aims to examine research trends related to the bodies of contemporary dance maors in South Korea and explore main research topics on body. As a research method, a text mining techniques, one of big data methods, was used to analyze the trends. As a result, it was found that the frequency of the term 'influence' was the highest, and N-gram connections related to 'influence,' 'dance,' and 'injury' were among the top findings. Topic modeling revealed themes such as 'dancers' body management,' 'emotional changes according to physical condition,' and 'the correlation between eating behavior and emotions in dance.' These results are expected to provide foundational data and direction for subsequent research.

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 investigate and reflect on the pro-Japanese activities of Choe Seunghui, also known as Sai Shoki (1911-1969) during the Japanese colonial period. I reviewed literature including the Dictionary of Pro-Japanese Figures and documents from the Investigation Committee on Pro-Japanese Collaborators, as well as newspaper articles. Choe Seunghui's pro-Japanese activities from 1937 to 1944 included: first, donating large sums of money to national defense funds and pro-Japanese organizations; second, performing numerous consolation shows for the Imperial Japanese Army; and third, receiving the National Cultural Award for her pro-Japanese work Muhon. Immediately after liberation, Choe exhibited a process of denial, acknowledgment, atonement, and justification regarding her pro-Japanese actions. The study discusses her own stance on her pro-Japanese activities, the positions of South and North Korea, and the perspectives of the South Korean dance community after the lifting of restrictions on her works, highlighting the gap between 'facts' and 'acknowledgment.' In conclusion, the study emphasizes the importance of remembering both Choe Seunghui's pro-Japanese misconduct and her contributions to dance. As Hannah Arendt insightfully noted, the phenomenon of 'thoughtlessness' leading to immense evil can occur not only in past instances like Nazism or pro-Japanese collaboration but also in contemporary contexts. This study aims to assist the dance community in existing as reflective individuals, aware of these historical lessons.