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 examines the significance of Korean performing arts history by focusing on the Little Angels’ organizations and management, the composition of the repertoires, and the meaning of international performing arts history. As a semi-professional organization, the Little Angels developed and operated the member selection musician system, and toured through overseas professional management in the early days. The repertoires of the Little Angels, including Korean traditional dance, music, and choral music were staged, established and systematized as the standard repertoires during the early activities of the cultural mission. Little Angels' dance was developed to be suitable for the children's group dances and the overseas staging of the new dance, and the choral repertoire, which included Korean folk songs and world folk songs played a major role in public diplomacy. As the only 'folk art troupe' among children's art troupes active in the international performing arts world, the Little Angels helped introduce Korean performing arts to the international audiences. Through the study of the Little Angels, a children's art troupe as well as a private art troupe with a 60-year history of international activities, this paper encompassed the history of Korean contemporary performing arts in a rich and stereoscopic way.

The purpose of this study is to gain a deeper understandingt of Bae Gu-ja by reconstructing her early work The Death of Swan. First, the contents behind the records of the era were identified through the examination of photo materials and newspaper articles in which Bae Gu-ja appeared. Then, various data related to Bae Gu-ja were collected in order to gain a more comprehensive understanding of the world of her dance. Lastly, Bae Gu-ja’s The Death of Swan was reconstructed to induce an inner experience, felt in the body. This is a process of empathizing with what Bae Gu-ja must have felt while performing The Death of Swan.

The Death of Swan is an artwork in which Bae Gu-ja attempted to project herself and to express her inner self through a dying swan. While reconstructing and rewriting the performance, it was possible to reinterpret it and empathize with Bae Gu-ja’s experience. Furthermore, it also allows for the possibility of various interpretations of history, enabling a more open discussion. The objective of this study is to contribute to the Korean dance history description method by conducting a new type of historical research, and to highlight the need to conduct more diverse research.

The Little Angels is one of the organizations that has served as a cultural delegation representing Korea since the barren art world of the 1960s and 1970s. One of the most outstanding achievements of the Little Angels, which celebrates its 60th anniversary this year, is the recognition of the excellence of our dance both domestically and internationally through a variety of dance repertoires. The purpose of this paper is to analyze the dance repertoire from various angles and to examine its characteristics. The characteristics of their dance repertoire include the establishment of our own repertoire as a cultural delegation, the creation of Korean dances based on New Dance, the development of categories encompassing both songs and dances, and the composition of works centered on group dances. Further, it is also characterized by the flexibility of program composition, the use of dance moves that students can perform, the educational effects that produced future leaders in the domain, the focus on the Little Angels repertoire rather than an individual choreographer, the relatively rare copyright issues, as well as the repertoire renewal appropriate to the current era. Through this research, it is possible to confirm the historical, cultural, and artistic significance of the dance repertoire that has been passed down over the past half century.

This article explores the philosophy of life contained in Lee Ae-ju’s dance and its theory from a critical perspective. I first discussed the planning intentions of the three works of Lee Ae-ju’s Creative Dance Ttangkkeut, Nanumgut bap, and Balloon Flower, as well as the view of life of her dance. Secondly, the traditional dances of Seungmu, Salpurichum, and Taepyeongchum were explained, and Lee Ae-ju's artistic life and dance worldview were examined. Finally, the meaning and nature of the Lee Ae-ju’s dance, intended to be expressed across traditional and creative dances, were identified and the philosophy of life within it was explored.

An artist who has contributed significantly to the prosperity and development of Korean dance; an innovator who has steered her craft toward opening doors to a new world of creative positivity, Lee Ae-ju was such an artist. While traditional dance of the past and modern forms of creative dance have often been in conflict, Lee’s nationally designated dance has spread its wings defying a century of creative ideology. By adding excitement and style to the rhythm, her art has sublimated dance into a form that embraces rebirth with joy. Through her dance, she gave new life to the creative spark of her field and helped instilling hope for both freedom of expression and democratization.

This study aims to investigate the genealogy of succession in each household of woman shamans performing Jindo Ssitgimgut. A literature review was conducted to examine previous studies and data, and we conducted interviews in parallel to confirm and verify the findings from the literature review. This research focuses on the women shamans of the Park, Kang, Ham, and Chae families. Tracing back the transmission process of Jindo Ssitgimgut reveals two distinct succession patterns. Among the two is the Jindo Ssitgimgut Preservation Association, which is centered on Park's family, and the other is the Ham family. The Preservation Association accepted a variety of successors, both shamans and non-shamans, and established a method of passing them on through education rather than through hereditary descent. In the case of the Ham family, after the death of the shaman Chae Jeong-rye, a possessed shaman who was also a disciple of Chae became the successor. These two patterns suggest that Jindo Ssitgimgut cannot expect hereditary successions within the family to continue.Due to the change of times and unsuitable succession environment, the Jindo Ssitgimgut hereditary is on the verge of extinction. In order to ensure the proper succession and preservation of the existing hereditary dance, it is necessary to understand the genealogy of woman shamans.

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.

Based on the concept of "différence" proposed by Deleuze, the purpose of this study is to explore the philosophy of ‘creation and extinction’ in Korean creative dance through an analysis of Cha Soo jung's piece 淸, Open the Blue Sea(2021). Applying Deleuze’s notion of différence to this piece, the sea in 淸, Open the Blue Sea is not the place of death, but of life, and courage for life. Consequently, this study discovers the potential of expanded interpretation of dance as a space for humanities and thoughts by examining its association with the concept of différence, which re-generates the true meaning of life through death. Further, it is essential to examine the possibilities of expression within Korean creative dance by analyzing how dance art elements are connected in the work 淸, Open the Blue Sea to symbolize the place of Cheong's death and the sea through a reinterpretation of Korean classical literature.

This paper examines the entire process of creating and performing the author's dance piece The Void Space Between with a them of ‘spatial distance’, which was performed during the period of social distancing caused by COVID-19 in early 2020. This study analyzes the process of mutual communication based on human perception of distance, which is an invisible area, by applying practical research methodology to dance works that deal with social issues.

Study findings contribute to understanding the problem of human spatial distance that will persist even in the post-COVID-19 era. As we move towards a global transition following COVID-19, it is important for us to reflect on the essential relationship between humans through the lens of space distancing. In addition, it is significant to note that the discussion of spatial distancing has been performed and studied as a form of dance. This study will provide follow-up choreographers with a small indication of how to wisely prepare for the post-corona era by thinking about life and art in an integral way.