This study aims to examine the aesthetic characteristics of body imagery in contemporary ballet through an analysis of Alexander Ekman’s “Play,” focusing on Gilles Deleuze’s concept of the Body without Organs (BwO). Through a literature review of Deleuze’s concept of the body and theory of art, five characteristics of body imagery were derived: disarticulation, expansion, decentering, body transformation, and body abstraction. These categories were grounded in Deleuze’s concepts of articulation, becoming, multiplicity, affect, and the virtual. Applying this analytical framework, the study found that, while grounded in traditional ballet technique, “Play” embodies these characteristics through the segmentation and reconstruction of the body, the displacement of the bodily center, and the body’s integration with space and objects. This study is significant in offering a theoretical basis for discussing the identity of contemporary ballet by interpreting body image in Ekman's Play from Deleuze's philosophical perspective.

This study examines shifts in dance reception within the omnichannel environment from the perspective of ‘extended corporeality.’ Employing William Forsythe’s ‘choreographic object,’ Andre Lepecki’s ‘body as archive,’ and Kate Mattingly’s ‘choreographic apparatus’ as analytical frameworks, the study analyzes cases including Ambiguous Dance Company that traverse online and offline boundaries. The findings reveal that the omnichannel environment reconstructs dance through mechanisms of ‘translation’ and ‘control.’ First, as dance detaches from the physical body and is converted into data, it generates ‘mediated performativity’ and ‘performative archives.’ Second, under algorithmic control, audiences transition into active ‘performative spectators’ (corporeal prosumers) who embody and produce dance themselves. To address the risks of technological subjugation and the standardization of bodily aesthetics, this study proposes practical measures: establishing test-beds for empirical projects, introducing ‘modular choreography’, and building participatory dance-sharing platforms. This study is significant in elucidating the ontological transformation of dance and presenting a roadmap for a sustainable dance ecosystem.

This study examines artificial intelligence (AI) discourse in Korean dance studies between 2017 and 2025 from the perspective of human–technological–bodily relational networks and investigates how AI is transforming the discursive structure of the field. To achieve this, phenomenological embodiment theory, posthumanist theory, and technology-mediated art discourse were employed as analytical frameworks, and a qualitative literature review was conducted on thirty-five academic articles published in Korean scholarly journals. The findings indicate that AI functions as an agent mediating bodily experience, creative processes, and modes of reception across the domains of education, creation, and audience engagement. As a result, the body is being reconstituted as a relationally-constituted entity, creation as a collaborative process, and reception as a participatory experience. Overall, AI discourse in Korean dance studies extends beyond discussions of technological application toward an exploration of how meaning is generated through human–technological–bodily relations, representing a discursive shift that calls for a re-examination of the concepts and boundaries of dance studies.

This study examines pre-service teachers’ educational perceptions of digital physical expression activities while utilizing lifelogging tools such as Mocopi and Padlet with 58 pre-service teachers from two departments at C National University of Education.. Using Q methodology, the study proceeded through the following stages: the development of Q statements related to the research topic, the selection of participants as the P sample, and factor analysis to identify types of educational perceptions. As a result First, the Active Acceptance and Selective Utilization groups highlighted the positive aspects of lifelogging, including memory support, personalized learning experiences, and creative self-expression. Second, the Avoidant and Indifferent groups pointed out negative factors, such as concerns about privacy invasion, psychological burden, and digital fatigue. Third, the findings emphasized the need to provide user-tailored solutions for effective adoption. Fourth, lifelogging-based physical activities with Mocopi and Padlet were shown to foster social presence and strengthen mutual connectedness among learners.

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 aims to examine research trends related to the bodies of contemporary dance maors in South Korea and explore main research topics on body. As a research method, a text mining techniques, one of big data methods, was used to analyze the trends. As a result, it was found that the frequency of the term 'influence' was the highest, and N-gram connections related to 'influence,' 'dance,' and 'injury' were among the top findings. Topic modeling revealed themes such as 'dancers' body management,' 'emotional changes according to physical condition,' and 'the correlation between eating behavior and emotions in dance.' These results are expected to provide foundational data and direction for subsequent research.

The theme of this study is ‘What the nature of somatic/psychological experiences reported by trauma survivors through movement education is.' The problems of this study are: first, to investigate the relation between the somatic characteristics of trauma survivors and their movements and second, to study on the process of their life changes and the meaning of their experiences reported by them through participating in the movement class. Five study participants, among the educators who participated in the Korean Tamalpa Institute’s program, “Remembering the Body” from June to December of 2013, conducted the narrative study from January to March of 2014. Through this study, first, it was found out that the trauma survivors, due to their physiological responses by traumas, had tended to unconsciously block senses arisen in the somatic area and the areas of emotion and perception had been also blocked therefore the sphere of their lives had become limited. Second, they reported that, as the circulating relations among the soma, emotion and perception in the trauma survivors started to develop, they realized the soma, emotion, thinking, relationships, and other life’s contexts such as that in workplace were all connected and changes occurred in them simultaneously. Third, through movement education, the trauma survivors obtained new somatic experiences and they discovered some points where the somatic movement experiences at the studio could be integrated into the metaphoric movement experiences in their lives. Fourth, when the responses by traumas occurred, they understood the traumas’ physiological theory, not by verbal expressions, but through movement.

This article reports on changes in health-related parameters, including muscular strength, cardiac-pulmonary endurance, flexibility, equilibrant and coordination, elderly citizens who completed a seven month movement educational program based on somatic disciplines for body-mind integration. The study included 5 participants (1 male, 4 females; age range 70-86) and was conducted over seven months (November 2013 to June 2014) at a senior welfare center in Seoul, Korea. Pre-program data collection consisted of a questionnaire on somatotype, body composition analysis, and examination of physical strength. The somatic movement program included meditation, Bartenieff Fundamentals, Pilates, the Feldenkrais Method, etc., and each participant attended class for two hours twice a week. The program comprised to sections of 20 and 14 classes respectively. After each section, body composition and physical strength were analyzed (1st exam: March 27, 2014 ; 2nd exam: June 3, 2014). The results of this study were as follows: First, the participants lost weight and body fat noticeably through somatic disciplines. Second, it seems that there is a significant interrelationship between somatotype and health elements. Indeed, the participants improved on some specific aspects of health elements more than others which depends on the participants’ somatotype. For example, leg and arm muscle functions were improved more for participants with mesomorph than those with ectomorph. The observed outcomes were attributed to the participants’ attitude of immersing in classes, mindfulness, intimate relations between teacher/peers, and awareness of their own soma in daily lives.

In the 20th century, Bauhaus influenced the arts as a whole by its experimentation and originality. Its activities have been related to the expressionism and abstractism in dance in conjunction with the German modern dance era, and German modern dance has also developed through intercultural exchange with American modern dance. Therefore, it is necessary to study Bauhaus' art world, concept, and its effects on the actual dance arts. Also, I aim to find out what the overall artistic tendency leads to today' s contemporary dance. As a result, we examined the influence of the overall artistic tendencies of the Bauhaus figures such as Walter Gropius, Vasily Kandinsky, Oscar Schlemmer, and Moholy Naji, on dance, which Bauhaus pursued as a theater has led to the expansion of time and space. In addition, not only Bauhaus is a simple mechanism but also integrated education through various aspects such as architecture, crafts, theater, dance, and stage art.

The purpose of this research is to provide insights into the essence and value of dance education by describing the teaching experiences through an auto- ethnographic method. It is difficult to find researches on the overall teaching experience ranging from early childhood education to college education. Having experienced child dance class, elementary school dance class, and college movement class, I seek to find the desirable education and its significance for students while reflecting on dance teaching method and its meanings. Students get interested in their body parts, and they learn how to communicate and share their feelings with others through dance education. The performance experiences as a dance teacher are as follows. First, a natural culture at home or a home atmosphere has formed through learning-by-playing. Second, my first part-time class has led to my lifelong workplace and developed functionally. Third, I have found that a strict discipline in a dance class could give difficulties for students to express freedom. Fourth, a dance class that gives joy and pleasure changes students’perception of dance, makes them more interested in their bodies, and have more confidence with dance. In conclusion, I have realized that a dance class enables students to widely understand various emotions expressed by the body, discover ‘self’ through this process, and it can be developed into a means of communication to form a community spirit.