The purpose of this study is to verify the effect of ‘Playing Metaverse Meta夢’ which is an ecological environmental arts education class incorporating a metaverse platform, on elementary school students' learning reality and active learning. Eleven elementary school students in the sixth grade from “A” Elementary School in Chungbuk were selected as the participants of the study and a single group pre-and post-design was used as a research method. This class was held for a total of six weeks from April 18 to May 23, 2023, for 90 min once a week. In terms of data processing, corresponding samples t-test and ANOVA were conducted through SPSS 21.0, and the significance level was p<.05. As a result, there were significant improvements in both learning reality and active learning. The study confirms that integrated art education contents using a metaverse platform, termed as ecological environmental art education, can increase elementary school students' learning reality and active learning.

This study analyzes William Forside’s Synchronous Objects for One Flat Thing, Reproduced from a geometric perspective. This dance is a digital work presented through an online platform, which combines various fields to produce 20 objects. The work uses geometric forms to express dancers’ movements and spatial interactions in various ways. In our study, the interaction and fusion of art and geometry are explored by analyzing the dancers’ movements by means of geometric shapes such as points, lines, and planes. It analyzes how various patterns and structures are formed in space when dancers pass each other or make synchronized movements. Therefore, this study contributes to geometrically analyzing and understanding the dancers’ movements and their uses of stage space by combining dance and geometry.

This study aims to analyze the life and aesthetic philosophy of Zhao Dexian, a pioneer and innovator Korean-Chinese dance theory. Zhao Dexian conducted research on the expressive techniques of dancers based on physiology and psychology, concurrently developing educational methods that combine theory and practice. This not only contributed to the development of Korean-Chinese traditional dance's stage expression but also played a significant role in an educational context. Building upon existing research, this study collects and organizes materials such as Zhao Dexian's writings, research papers, and critiques. In addition, it conducts in-depth interviews with Zhao Dexian's children, disciples, and relevant individuals to supplement any gaps in existing literature and to delve into the details of Zhao Dexian's growth and artistic activities while analyzing his aesthetic philosophy.

The aesthetic philosophy inherent in Zhao Dexian's dance art centers around the unification of mind and body. It explores how to harmonize emotional understanding and expression from both physiological and perspectives. The fundamental practice of this expression emphasizes dance training based on de analysis of humans through the "Si Xiang Fang" constitutional characteristics. In summary, this study highlights Zhao Dexian's contributions to the field of Korean-Chinese dance. Significantly, the study on his unique aesthetic philosophy suggests a further investgation of Korean-Chinese dance education and a better understanding of artistic exchange between Korea and China.

This study examines how Uyghur Bowl Dance has transforme over the years in Xinjiang, China. I used a eview of the records and image analysis to track changes in body postures, content, expressive methods, and social functions of Uyghur Bowl Dance. My analysis was carried out based on photos and drawings of the dance as well as pre-modern records Through the analysis of different cultural elements and characteristics that appeared in the formation of Uyghur Bowl Dance, this study identifies changes that occurred in the dance within different historical eras This study promotes the development of Chinese ethnic folk dances and serves as useful reference for the study of traditional dances in the history of Chinese ethnic culture and art.

This study analyzes the impact of stage devices used in Bicheonmu, a creative dance work, on its story development process. The study examines Dunhuang murals and flying figures, and analyzes the props-first used in Ailian’s 1954 Bicheonmu performance, as well as the stage installations repeatedly represented in various Bicheonmu performances until recently. This paper is based on the analysis of literature and images related to Bicheonmu, in addition to the performance videos and photos archived from 1951 to 2021. Since 1954, the stage installations of Bicheonmu have been constantly improved for a more realistic performance, and thus the story of the dance has also undergone changes. Various stage devices used in Bicheonmu, such as flying cars, steel wires, electronic screens, flying devices, and underwater, create a spectacular scene. The paper, which focuses on the different kinds of stage equipment and props used in Bicheonmu, will contribute to offering a reasonable development plan for the transmission and innovation of the dance.

The purpose of this study is to uncover the specific pro-Japanese actions of dancer Jo Taek-won (Japanese name Fukugawa Moto 福川元, 1907-1976), to improve our understanding of the history of Korean modern dance. Research was carried out through analysis of the Encyclopedia of the Pro-Japanese collaborator(2009), Report on the Truth of Pro-Japanese Anti-National Activities (2009), and visual data. First of all, I identified the collaborations with the Japanese Empire of Jo Taek-won. Jo Taek-won choreographed the representative pro-Japanese dance drama Buyeohoesanggok (1941.5.12.-16), and performed in other pro-Japanese contexts, including a number of Japanese military consolation performances for conscriptsand student soldiers. After liberation, Jo Taek-won took the lead in the dance world despite his pro-Japanese career, and after his death, a dance memorial stone produced through fundraising was erected. I argue that Jo Taek-won's artistic achievements and pro-Japanese activities should be taught together in dance education for later generations. In that sense, I suggested that an inscription containing the pro-Japanese history be added next to Jo Taek-won's dance memorial stone built at the National Theater of Korea.

The purpose of this study is to investigate the value and effect of Myeongjakmu as cultural contents and to study development measures for revitalization. A total of eleven experts, including eight original performers and successors of Myeongjakmu and three dance performance planners and administrators, were interviewed in both unstructured and semi-structured ways. Based on the data collected from the interviews with these experts, two areas of Myeongjakmu – its creative values and its ripple effects – emerged to serve as cultural contents. Music, dance moves, costumes, and props were categorized into the creative value area, while popularization, consensus formation, and accessibility were classified into the area of ripple effects. In this article we propose four development plans to revitalize Myeongjakmu based on the experts opinions. Establishing the status of Myeongjakmu, policy support, deepening expertise, and securing sustainability. These actions will increase the value of the disappearing Korean dance cultural heritage as a systematic study for future Myeongjakmu, and contribute to the establishment of related knowledge systems and basic composition of transfer materials.

The purpose of this study is to shed light on the therapeutic meaning and value of dance from a historical perspectives by confirming and verifying Korean 'Byeonggut' and Italian 'Tarantism', two dance examples from both the East and the West, which overcome and heal actual diseases. First, from a synchronic perspective, the cause and background of each disease as well as the characteristics and therapeutic functions of each dance were examined. In addition, from a diachronic perspective, the process of change over time from the origin of each disease to recent research and development of each disease and dance was explored. The study was based on literature research of domestic and international books, theses, and academic papers and internet sources. The comparison and analysis of the two dances find that there are similarities in the causes of the disease, symptoms of the disease, treatment methods, and main means of treatment. However, there are differences in terms of the distribution of occurrence, participants, treatment targets, and patient attitudes between the two dances.