The purpose of this study was to examine the effects of narcissism on self-management and performance confidence among university students majoring in dance. A survey was conducted with dance majors enrolled in four-year universities in Seoul, and a total of 363 valid questionnaires were analyzed using SPSS Version 23.0. Data analysis included frequency analysis, exploratory factor analysis, reliability testing, correlation analysis, and multiple regression analysis. The findings are as follows. First, narcissism had a statistically significant effect on self-management. Second, narcissism significantly influenced performance confidence. Third, self-management had a significant positive effect on performance confidence. These results indicate that narcissism functions as a psychological resource that promotes self-management and enhances performance confidence among dance majors. The findings suggest that, within pre-professional dance training contexts, certain dimensions of narcissism may contribute positively to psychological stability and performance-related competence.

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.

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.

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 purpose of this study is to explore the experience of applying the APIECE(Actor’s Body and Psychology, Psychological Gesture, Personal Feeling and Soul, Image Integration and Imagination, Ensemble and Improvise, Character Characterization, Creative Personality, Expression of Dance) program to improve the dance expressiveness of college students majoring in contemporary dance. In order to find out the qualitative change in dance expressiveness, 5 people with a high level of participation and interest in the program were selected, and in-depth interviews, experience diaries, and observation diaries were categorized using an in inductive analysis method.

As a result, first, college students majoring in modern dance visually expressed their imagination through the imagination of the observed object. Second, the essence of body expression was explored through continuous expression through concentration, confidence in self-movement, and visualization of space. Third, in a person whose center of gravity between me and others was shifted, the form was composed and transformed through the body. Fourth, in the stage of self-awareness through archetypal gestures and psychological gestures, it was explored that dance expressiveness reflects the body's mental attitude.

The purpose of this study is to understand the status and experience of online practical classes for dance major students in the COVID-19 situation. As a result, suggestions for improvement are as follows. First, instructors should provide various types of teaching strategies by utilizing the LMS. Second, colleges should provide and improve the online educational environment for instructors and learners. Last, learners should find a balance between freedom and control of online classes. Based on this study, it aims to help learner-centered effective instructional management and lecture quality improvement, and furthermore, it aims to provide basic data to respond to changes and future of dance education facing online classes.

The purpose of this study was to examine the experiences of learning Korean dance among college students in America. The research questions how people of other cultures view changes in Korean dance through study, what beneficial changes occur, and how experiences are meaningful to them. To answer these questions, this study primarily relied on in-depth and semi-structured interviews with college students (4 Americans, 1 Chinese, and 1 African), in Massachusetts, who studied Korean traditional dance through a series of 19 classes, beginning on September 16th, 2014 and ending with a performance on March 3rd, 2015. All interviews were fully transcribed before the files were segmented and the subjects conceptualized using assigned codes. The results of this study are divided into three parts. First, before learning Korean dance, the research participants perceived it to be an interesting but unfamiliar dance, which they recognized from Korean Wave, and an elegant and beautiful dance, different from K-pop. After learning Korean dance, they perceived it to have flow and moderate strength. They believed that it allowed them to recognize their inner consciousness and be aware of their surroundings, facilitating communication with both. Participants also felt that the dance healed the spirit through deliberate movement, that it allowed the body’s energy to increase through concentration, that it coordinated the body’s movements organically, and that it symbolized the lives, philosophy, and respect for creation of the Korean people. Second, participants changed in four beneficial areas through study of Korean dance: 1) their strength, control, coordination, balance, and individual expression improved; 2) their awareness, memory, patience, focus, creativity, ability to communicate, sense of responsibility, mental coordination and control, and thoughtfulness improved; 3) they had a more positive attitude and perspective; and 4) they felt that they embodied the qualities of the Korean people, such as respect, elegance, and slowing down. Third, learning Korean dance was meaningful to the participants in the following four areas: 1) it was a challenge and an accomplishment, 2) they gained familiarity with Korean culture, 3) they became ambassadors for Korean culture, and 4) they felt both special and professional.

This study attempted to examine teacher-dancer interaction, basic psychological needs and commitment to understand and provide knowledge in learning methods of university student majoring dance. In total, 337 students were recruited from the seoul and gyeonggi regional university student majoring dance. Statistical analyses(descriptive statistics, reliability test, correlations analysis, confirmatory factor analysis, structural equation model) were conducted using PASW 21.0, AMOS 18.0. Results revealed that teacher-dancer interaction positively predicted passion, as well as commitment. Basic psychological needs positively predicted commitment. In addition, basic psychological needs was partially mediated by teacher-dancer interaction on commitment in university student majoring dance.

The purpose of this study is to investigate the origin, types, and characteristics of dancing in the colleges rally scene before and after the democratization uprising in 1987. As its methodology, this research investigates previous researches, related data, and conducted interviews with related as well as reflecting on my own experience. As a result, the creative Talchoom movement that took place in the 1980s has developed into the dance and pungmool that was at the center of the artistic means to grasp the ideological and simultaneous will of the young students. In the rallies and demonstrations of the 80s and 90s, there were arts propaganda group in each university'. These dances with easy and simple movements were enjoyed by many and was used as a medium to express the will and spirit of youth. The dance was expressed collectively as the structure of cohesion and eruption type, and the four-beat dance made it easy for everyone to share with one another, and flag dance was often used as an inflammatory device. The dances of the university in the 80s and 90s was based on amateurism and functioned as a social activist dance that expressed the will to resist.

This study identifies the current status of dance departments at universities in Daegu and Gyeongbuk and to raise the need to improve dance education programs and to seek a change in educational direction for dance departments facing the crisis of the abolition at the local universities. Starting with the department of dance at Hyosung Women's University (currently, Daegu Catholic University), which was established in 1974, the department of dance was established at Keimyung University (1984), the dance major at Yeungnam University (2002), and the department of practical dance at Daegu Art University (2004) in succession. The dance culture of Daegu and Gyeongbuk was formed and developed through dance education and creative activities have been centered on these universities. Today, however, with the rapid decline of the school-age population and the university restructuring policy, the dance departments at local universities face a crisis through the abolition, unification, downsizing of undergraduate majors and reform of specialty majors. Therefore, if the departments of dance at the local universities establish a step-by-step educational program that considers not only the admission process, but also student’s employment after graduation, and expand programs such as directing, management, stage, lighting as well as practical education centering on fine arts, and if each university presents a paradigm of specialized education to expand investment in creative dance education and to develop a new dance education ecosystem through the formation of a network between departments, community education institutions, and regional art creation agencies, they will grow into a continuous and future-oriented dance departments at local universities.