This study explores how NFT (Non-Fungible Token) technology transforms the ontological conditions of dance as an intangible art form We employ a literature review as the research method, collecting data through NFT-related dance cases and existing studies. Theoretical frameworks, including Walter Benjamin’s concept of aura, Jean Baudrillard’s theory of simulacra, and Philip Auslander’s performance theory, are applied to analyze the changes in the concepts of liveness, authenticity, and ownership. The findings reveal that NFTs provide dance with digital uniqueness and technical authenticity, shifting the traditionally ephemeral and non-ownable nature of dance. Through the lens of “scarcity aesthetics,” NFTs introduce new possibilities for the aesthetics of dance, enabling the creation of digital ownership and authenticity. This study suggests that NFT technology can reconstruct the ontological conditions of dance, offering a novel perspective on the relationship between the intangible art form and digital technology in the contemporary era.

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.

The purpose of this study is to discuss the role and tasks of the Korean International Accessible Dance Festival, which has contributed to the artistic development of people with disabilities since its launch in 2016. The study explores the meaning and role of the Korean International Accessible Dance Festival as follows: 1) the promotion of basic cultural rights of people with disabilities, 2) the pivotal role of dance for people with disabilities, 3) the establishment of stable performance production conditions, 4) the promotion of social awareness and interest in dance for people with disabilities, and 5) the connection of people with disabilities at home and abroad. Tasks to promote the professional development of dance for people with disabilitiesinclude the development of representative content, training and support for people with disabilities, and the development of related educational programs. This study can act as a cornerstone for the progress of discussions on dance for people with disabilities.

Wu XiaoBang new dance art aesthetic thought is examined in this paper in order to shed light on the significance of revolution and progress. XiaoBang critically adapted both western romantic ballet and German expressionist dance, and developed the essence of Chinese classical culture. He proposed a new dance art in accordance with aesthetic in the new era of China. Based on a literature review, this study analyzed the aesthetic thought of new dance art from four aspects: dance performance, dance creation, dance education and dance theory. Research papers on new dance art, one-line books and critical essays are used to analyze the development history of modern dance in China and to understand the formation and development of new dance art. In summarizing Wu XiaoBang formation and development of new dance art aesthetics, this research makes a significant contribution to the development of dance discipline and training principles.

This study explores the primary issues in international performing arts exchange in the post-COVID-19 era. In our in-depth interviews with dance artists, each with over eight years of experience in international exchange before and after the pandemic, we witnessed the challenges and opportunities posed by the current pandemic situation. We used phenomenological methods to analyze the interview data. Our analysis revealed four problems: (1) the gap between live performance and recorded online performance; (2) the lack of equitable collaboration between artists and arts administrators; (3) the lack of diverse approaches and forms of support; and (4) the increase in barriers to international performing arts exchange. Our findings suggest countermeasures, such as: (1) balanced support both for live performance and online performance; (2) more flexible communication between artists and administrators; (3) adoption of more diverse and creative modes of international exchange; and (4) provision of training and education to promote artists’ access to and mobility in international artistic exchange.

This study suggests that Dance for PD, a dance education program for patients with Parkinson's disease, nevitalize programs need to cotribute to the creation of new jobs that can utilize a wide range of artistic resources of dance major. The opportunity change jobs after retirement. The patient can feel happiness and joy while learning dance, and at the same time provide an opportunity to help mitigate Parkinson's disease. At this level, the characteristics of the Dance for PD program, which is just introduced in Korea, focus on the happiness and creative activity that can be achieved in the process of treating patients like dancers and experiencing dance arts. Dance for PD Through Dance for PD, a patient-dancer gains a sense of accomplishment by experiencing positive emotions such as fun, and joy in structured programs, and acquirinpg dance. This is especially true when the generations of the Since the older generations of Korea is characteristically unfamiliar with the expression of emotions that reveal them selves, Parkinson's patients in Korea think about the generational characteristics that are unfamiliar with the expression of emotions that reveal themselves. Since the older generations of Korea is charscteristically unfamiliar with the expression of emotions that reveal them selves., Dance for PD, a structured dance education program, is the most appropriate program in Korea.

The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

By 1979, 95 culture and arts centers had been established, and there was an increase in the number of these centers every year from then on. In 2016, there were 229 culture and arts centers nationwide. The culture and arts centers established with the support of the government, needed the management of operation to suit local characteristics and environment with the lapse of time. To examine the operating state of dance performances of culture and arts centers, this study dealt with the performance record of the field of dance in performance halls from 2011 to 2016. Region, operator, and year were selected as demographic variables to make a comparative analysis of the trend in the changes of the variables. SPSS 21.0 was used to perform computational processing. The findings of the study were as follows: To the performance record of the field of dance in the performance halls, the total yearly number of dance performance cases was a mean of 2.6. and the total yearly number of dance performance days was a mean of 3.3. and the total annual frequency of dance performances was a mean of 3.9. Concerning the rate of paying audience in the area of dance, it stood at a mean of 15.2 percent, and was highest in Seoul. As the results, the number of dance performance days and the frequency of dance performances were low relatively to the number of dance performance cases compared to those of other genres. It implies that dance performances are given just on a temporary basis. Performance facilities that are tailored to the specificity of the genre of dance are necessary, and careful performance planning and assistance from the government are both required to ensure the continuity of dance performances.