In contemporary K-pop there seems to be a rise in the amount of womanist cultural products that are part of a wave of home-grown, Korean-style “screen feminism” that must operate under semiotic cover, using the plausible deniability of the bukae in the name of art to not be accused of being a western-style “feminist.” I posit the notion of a “complaisant agency” that, like “docile agency” encompasses the meaning of willingly consenting to acquiring skills or the requisite tools needed in a field in which one cannot mount formal, visible resistance, while yet appearing to actively flourish and emotionally comply to standards and behaviors in the field. It is through the deceptive cover of “complaisant agency” that performers can stage cultural productions that are seemingly complicit in master narratives of subjugation but yet contain Trojan horses that explode with the potential to mount semiotic resistance and become a means to transgress. Counter to narratives that ascribe complicitly in the disempowerment of women to K-pop, in this paper I identify how some K-pop artists are engaged in the production of a new vision around women in Korean society.

This study aims to develop and implement an educational program to help elementary school students increase their mimetic expression skills by integrating storytelling into Hwataogeumhui, a movement set developed in China. Based on applied research, the results of the study are as follows. The program, structured around the processes of observation, mimicry, composition, and practice, consisted of five sessions targeting third-grade students, with each session lasting 40 minutes. Activities included observing animal movements through videos, performing Hwataogeumhui, creating their own movements as a group, presenting their work, and practicing exercise. The educational effects were qualitatively evaluated based on teachers’ reports on students’ progress and group presentations. The results revealed three educational effects: movement motivated through storytelling, complexity and mutual complementarity experienced by group activities, and learning abilities enhanced through the integration of other subjects into dance. Additionally, it is necessary to provide diverse and rich educational materials tailored to students’ learning levels. Furthermore, it is recommended that elementary school teachers have basic knowledge in dance education in order to implement gradual and continuous dance classes in elementary schools.

This study aims to reassess the distinctiveness and competitiveness of the Jeonju Daesaseup Festival, a traditional Korean music competition, and explore the utility of its various contents. To achieve this, the research analyzes the Daesaseup Festival evaluation sheets and observations of the competition and performance venues. The results of the study are as follows: Firstly, it is necessary to introduce differentiated competition categories and performances, as well as seminars for storytelling, folk music, dance, archery, and poetry, which are integral parts of the Daesaseup Festival. Secondly, historical sites such as Unhyeongung Palace, Jeolla Gamyeong, and Hanok Village can be transformed into tourist and cultural zones by integrating them with the competition and performances. Thirdly, the system of citizen judges should be adjusted to reflect a fair balance of gender and region. Reevaluation and careful management of the selection and operation of judges are necessary to ensure the fairness of the competition, and expansion of meticulous post-appointment management programs is also required. This study places significance on the historical aspect of the Jeonju Daesaseup Festival and its distinctiveness compared to other traditional art competitions.

This paper aims to examine the unique evolutionary process of traditional music and its characteristics by looking at the creation and succession of Steel-string Ajaeng sanjo. Sanjo-Ajaeng, which is mainly used for dance, continues its legacy as a solo instrument whereas Steel-string Ajaeng has been insufficiently transmitted. Thus, this study investigates the creation and spread of Yun Yun-seok’s Steel-string Ajaeng and re-examine the existing research and transmission value of Steel-string Ajaeng. For this purpose, the paper will look for the essence and value of transformation through the records of Yun Yun-seok's Steel-string Ajaeng performances and the process of completing Shin hyun-sik’s Steel-string Ajaeng sanjo style which is inherited from Yun Yun-seok. Yun Yun-seok je(body) Shin Hyun-sik ryu(style) Steel-string Ajaeng sanjo was completed in the form of sanjo by supplementing the limitations of improvisational research. In particular, he embraced all the characteristics of Gayageum and Ajaeng and searched for musical language based on sanjo to compose Ginsanjo with various rhythms. Also, it is hoped that creative inheritance methods like Steel-string Ajaeng Sanjo's composition principles will be widely used for the development of traditional music.

The purpose of this study is to analyze the educational demands for dance expression skills among dance major college students. The research methodology involved conducting a survey of 297 dance major college students, and frequencies and percentages were derived for each item. As a result, it was found that dance major college students hope for instructors who excel in dance expression skills and demand courses divided based on students' abilities, focusing on techniques during each session, ranging from 1 to 6 months in duration, twice a week during the first semester o f the second year, with each session lasting 30 to 60 minutes. This reflects the value of university dance expression education guidelines that respond to demand-centered requirements.

The Jeonju Daesaseumnori National Competition has a history of more than 300 years that originated from ‘Jeonju Tongincheong,’a contest established during the late Joseon dynasty. Despite the competition’s long history and tradition, it remains under-researched. Therefore, this study analyzes “Jeonju Daesaseup Dyeon”, one of the planned performances of the Jeonju Daesaseumnori Preservation Association. Based on the performance report of “Jeonju Daesaseup Dyeon,” the problems with this performance were identified and a revitalization plan was developed as follows. First, since the proportion of duplicate performers during the four-year performance accounts for more than 50%, opportunities for new winners to participate should be expanded. Second, since there are many fragmentary promotional activities, strategic promotional marketing and customer management are required. Third, since the similar performance content and format were repeated, improvements in the content of performance are necessary. It is difficult to generalize our recommendations based on only one case study. However, this study is important in that it offers insights on how to develop and revitalize the Jeonju Daesaseumnori Competition.

This study aims to study characteristics of Yi Maebang’s Honam Sword Dance. Literature research, image analysis, and the researcher’s own experience of the dance were used as research methods in this study. Through the investigation of Yi Maebang and his Honam Sword Dance components, the characteristics of Yi Maebang’s Honam Sword Dance can be classified into three categories. The first characteristic of Yi Maebang’s Honam Sword Dance is related to breathing circulation. This cycle of breathing appears in the harmony of yin and yang through the flow of Daesam and Sosam and in the movements of Jeong, Jung, and Dong. The second characteristic of his Honam Sword Dance is an aesthetic expressed through the dance’s tendency and form. In other words, the aesthetic of his dance is based on femininity and naturalness created by curved and circular movements. The third characteristic is the harmony of time and space, which can be found in the formation of “Gasaemulrigi.”