This study aims to analyze the characteristics of domestic and international dance performances utilizing VR technology, focusing on immersion and interactivity, and to explore their future potential. To achieve this, five works showcasing prominent collaborative features of VR-based dance performances implemented between 2016 and 2023 were selected for case analysis. The production processes and interviews were thoroughly examined to specify the developmental potential and limitations of VR dance performances. The findings are study highlights the collaboration between VR technology and dance performances as a means to create new artistic forms that enhance immersion and interactivity. It is expected to contribute to the development of specific methodologies that expand the expressive potential of the body and actively engage the audience.

This study conducts a semiotic examination on Taryeonggwajang of Jeong Jaeman's Seungmu. As a research method, I used Saussure's binary opposition, Greimas' meaning generation model, actor model, and semiotic square. I suggests that the elements of binary opposition are not complete oppositions but are mutually complementary. Seungmu repeatedly uses the actor model in the succession process. In that, the narrative nature of Seungmu is completed. By applying the internal binary opposition elements to the semiotic square, I could expand the scope to the existence of 'non-yin' and 'non-yang' rather than just 'yin' and 'yang'. In the movement analysis, I illuminate that there is no repetition where the beat and movement match, and in the case of the same movement, the movement changes to the left and right direction and the speed of the movement gradually increase. In this way, the analysis of the various meanings and dance movements inherent in Taryeonggwajang could be another interpretive study.

This study analyzed the relationship among physical self-efficacy, intention to continue dance, and psychological happiness of Chinese public square dance participants. The researchers conducted a survey on Chinese public square dance participants, and SPSS 23.0 was used to analyze 334 people in total. According to the analysis results, first, it was found that physical self-efficacy had a significant influence on the intention to continue dance. Second, physical self-efficacy was found to have a significant influence on psychological happiness. Third, it was found that the intention to continue dance had a significant influence on psychological happiness. The result confirmed that the physical self-efficacy of the Chinese public square dance participants is an important factor that promotes the intention to continue dance and ultimately contributes to the improvement of individual psychological happiness. Therefore, we suggest an approach considering these factors is needed in in the future when designing a program to improve the happiness of Chinese leisure dance participants.

This study analyzes the cultural transformation process of government gisaengs from 1908 to 1945 through a cultural psychological perspective. To this end, various data such as newspapers and magazines at the time were used to examine the cultural change and adaptation patterns of government gisaengs from the socio-cultural and psychological aspects. John W. Berry's theory of cultural transformation provided the theoretical framework, upon which the changes of government gisaengs were categorized into four categories: assimilation, separation, integration, and marginalization. As a result of the study, in assimilation, separation, and integration, models, actors, singers, calligraphy artists, independence activists, parasitic schools, and gwonbeon trained professional artists to form a positive social identity. On the other hand, in the marginalization, a negative phenomenon of experiencing social exclusion and alienation and leading an unstable life appeared. This study will contribute to expanding the understanding of cultural transformation of traditional artists by revealing how the identity of government gisaengs was reconstructed in a cultural psychological manner amid modern changes.

This study proposes a metaverse-based educational platform and a future dance-centered learning environment equipped with advanced technology. It aims to develop digital competencies through process-oriented learning, incorporating understanding, creating, and analyzing dance. The research primarily relies on a literature review, along with scenario planning-based PSTE analysis, and the Futures Wheel method to explore scenarios related to the implementation of the dance space “Dance Mechatropolis”. As a result, four key scenarios were identified: Metaverse Digital Anomie, Metaverse Digital Tutoring, Decentralization of the Digital Generation, and Metaverse Collaboration Architecture. These scenarios provide direction for future school education and help anticipate emerging trends. Future dance-based education based on metaverse is expected to go one step further to customized education innovation and provide insights into intelligent holistic learning management and personalized optimal learning services.

This study analyzes the structural and characteristics principles of the ‘Basic Dance’ established by Kim Paik-bong. As research methods, I conduct archival research, oral histories from in-depth interviews, and an embodied observation analysis based on practice-based research. As a result, I illuminate the background of the formation of the format and the foundation of the structural system, and classify the structural principles with seven elements to identify the characteristics. ‘Kim Paik-bong’s Basic Dance’ is a ‘technical system’, ‘movement principle system’, and ‘shaping principle system’, which can be defined as the typicality, identity, and uniqueness of Kim Paik-bong dance, a latent creative concept and principle. Therefore, the Basic Dance of Kim Paik-bong is the cornerstone of creative repository in identifying and preserving her artistic world. As the foundation of her art form, it will present the ideal of recreation as a ‘prototype’ and ‘example’.

The purpose of this study is to investigate knowledge about Kim Baek-bong Fan Dance, which is designated as an intangible cultural heritage whose original form can be accurately identified among Fan Dances. Accordingly, this study conducted a survey of 236 people: Korean dance majors who have learned Kim Baek-bong Fan Dance in a school class for one semester, trainees and successors, those who have learned through a workshop, those who have briefly learned as a general special lecture, and those who have watched a performance.

As a result, the group of trainees and successors had a high correct answer rate overall in items related to the background of its creation, rhythm makeup, dance costume composition, aesthetic characteristics and fans, while the group that participated in general special lectures, workshops and watching tended to have a high incorrect answer rate.

This study recognizes the need for disseminating more accurate knowledge in a situation where fan dance is mistaken for a Chinese dance, and it is judged that this will contribute to exploring educational methods for the correct transmission of Korean intangible cultural heritage in the future.

This study aimed to investigate the relationship among the grit of professional dancers, protean career attitude, and subjective career success. Collected through a purposive sampling method, 330 questionnaires of dancers were used for the final analysis, and the results obtained through validity analysis, reliability analysis, frequency analysis, correlation analysis, and regression analysis are as follows. First, it was found that the grit of professional dancers had a significant effect on protean career attitude. Second, it was found that the grit of professional dancers had a significant effect on subjective career success. Third, it was found that the protean career attitude of professional dancers had a significant effect on subjective career success. The result of this study suggests that dance organizations should strive to improve the level of not only dancers but also the entire dance group by strengthening support for the career development of dancers for the protean career attitude and subjective career success of professional dancers. The expansion and application of grit education to improve subjective career success of professional dancers is also required.

This study aims to identify the artistic sociological aspects of Choi Seung-hee’s dance philosophy by comparing and analyzing it with Arnold Hauser’s theory of the sociology of art. As a research method, I analyze Choi Seung-hee’s magazine article, focusing on “The Korean People and Dance”, and examine conceptual similarities with Hauser’s theory. The findings reveal strong correlations between the two theories, particularly in the historical and social natures of art, the concept of alienation, the dual structure of popular and fine arts, and the critique of formalism. Considering the socio-cultural context of the 1930s, this study suggests that Hauser’s theory may have influenced Choi Seung-hee’s dance philosophy. This research presents an integrated approach combining practice and theory and emphasizes the need for further in-depth studies on the sociological aspects of Choi Seung-hee’s dance philosophy.