This study aims to identify the cognitive emotional mechanisms underlying why AI-based performance reproduction does not fully feel “authentic” to audiences, and to analyze the structure of audience authenticity perception. An AI-based performance reproduction video featuring Audrey Hepburn was used as a stimulus. The study does not seek to evaluate the authenticity of a specific traditional dance form, but focuses on how perceived visual artificiality influences authenticity loss and emotional distance. The research model draws on uncanny valley theory, perceptual realism, authenticity theory, and Walter Benjamin’s concept of aura. PLS-SEM analysis of 1,124 respondents revealed that unnatural gaze and facial expressions, violations of physical laws and detail errors, and excessively smooth skin representation all had significant effects on authenticity loss and emotional distance. Authenticity loss significantly affected emotional distance and partially mediated the relationship between visual artificiality and emotional distance. The findings suggest that audience experience in digital performing arts may be shaped more strongly by the perceived naturalness and authenticity of performance than by the level of visual reproduction itself.

This study examines data governance issues arising from the expanding use of data and artificial intelligence (AI) in the performing arts through a stage-based data pipeline framework. The pipeline consists of six stages: collection, cleaning and processing, storage and management, AI training, generation and utilization, and reuse and sharing. Using seven domestic and international cases, the study applies pattern-matching analysis to identify dominant governance factors at each stage, focusing on six dimensions: legitimacy, quality, control, transparency, accountability, and usability. The findings show that governance issues emerge structurally along the data pipeline rather than from specific technologies. Legitimacy was dominant in AI-based creative systems, quality in real-time performance environments, control in digital archives, and usability in platform-based sharing systems. The study highlights the need to establish stage-specific governance frameworks suited to AI-driven performing arts environments.

Dance as an art form is fundamentally inseparable from the place in which it is performed. Therefore, this study aims to explore the generation of artistic meaning through the correlation between dance and space where it is realized. Two works serve as case studies: Miniature Space Theater, which reconfigured traditional theater space to experiment with audience performativity, and Trailer, an urban site-specific performance; both are pertinent cases for examining innovation in dance space and meaning production. Employing semiotic analysis based on binary oppositions, actantial models, and significance processes, the study conducts an in-depth examination of how each work utilizes place and generates meaning. The analysis derives three dimensions of meaning from dance performed in diverse places: non-representational meaning, bodily meaning, and event meaning. It is hoped that the generative artistic meanings identified through this research will contribute to fundamental self-reflection and redefinition in the art of dance.

This study aims to examine the cultural relationship between the secularization of Taoism during the Ming dynasty and the formation and development of Haiyang Yangge (a folk dance from Shandong). Combining literature review and fieldwork, the study analyzes the relationship between the spread of secular Taoism in folk society during the Ming dynasty and the formative process of Haiyang Yangge. The study finds that Taoist elements were adopted, transformed, and reconstructed within folk performance traditions. This is manifested in the role structure of yuedafu the Bagua-related spatial organization, and the collective ritual functions associated with the Haiyang Yangge Dragon King ritual. The formation and development of Haiyang Yangge can thus be understood as the result of continuous interaction between Taoism and these folk dance traditions. This study deepens the understanding of the historical formation and cultural identity of Haiyang Yangge, while providing a theoretical foundation for the continuity and transmission of traditional culture in a contemporary context.

This study aims to establish the category of Korean traditional dance, in which Korean aesthetic consciousness and spiritual culture are embedded. The purpose is to explore the cultural-historical and policy implications of its inscription on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. By analyzing historical literature and current state of domestic transmission, the study approaches the subject from perspective of ‘typical form [jeonhyeong]’ the intersection of tradition and modern transmission. The results confirm that dance forms redefined as stage arts in the modern era constitute the foundation of contemporary Korean traditional dance Furthermore, UNESCO inscription facilitates the globalization of the identity of Korean arts and shifts the policy paradigm from ‘preservation’ to sustainable ‘transmission and promotion.’ This study is significant in proposing a cultural-historical category for Korean traditional dance and presenting policy recommendations for UNESCO inscription. It serves as a scholarly and policy foundation encompassing both the preservation of archetypal forms and modern re-creation.

This study explores the possibilities and issues of NFT for dance records, setting preservation, exchange value, and the ethics of representation as its main agenda. The methods are literature analysis and case study. The discussion holds that NFT, as a non-fungible token, has the technical capacity to secure both authenticity preservation in dance documentation and commercial viability. In particular, from the standpoint of scarcity, NFT amplifies the aesthetic value of works and supports creators through rights protection and revenue sharing, indicating considerable industrial potential. However, sustained examination of the risks of legal disputes is required. In conclusion, NFT can provide an opportunity for an ecological transition of dance archives and has utilitarian value as a community token that advances the publicness and shareability of records. Therefore, even with ongoing technological developments such as AI, continued discourse on dance NFT is necessary.

This study aims to understand the dance culture of the Joseon Dynasty through ‘dance paintings of imagined space’ and ‘dance paintings of folk space’. I used the methods of iconography and literature research. The results of the study are as follows. First, the performers of the dance were diverse, ranging from fairies to religious monks and shamans, entertainers such as gisaeng and sadangpae, dancers, noblemen, and farmers. Second, the background of the dance was mainly a feast. Third, the dance stage was set up outdoors with mats. Fourth, the types of dance were diverse. Fifth, the dance formation was mainly a duet. Sixth, the reason why the dance paintings were abundant is because the Joseon people enjoyed dancing, and dance was a very useful symbol when expressing exciting moments in life. The significance of the study is that the rich dance culture of the Joseon people was confirmed through paintings.

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 identify expressive characteristics by examining the choreographic intention and movement meaning of the scarf-dance part in the Kim Baik-bong Sanjo Dance “Cheongmyeong Shimsu”. The study utilizes literature research and participatory observation methods, including in-depth interviews and embodiment. The analysis criteria on the relationship between the dancer and the scarf were based on movement emphasizing technical aspects and movements focusing on emotional exchange. The expressive characteristics of movements can be organized into 12 categories such as “mother's love,” “life's solid experience,” “life's reincarnation,” and “deep and full sadness.” In “Cheongmyeong Shimsu”, the scarf is not just a prop but contains the choreographer's philosophy and ideals. It also conveys emotions effectively, which helps the theme of dance be delivered clearly. “Cheongmyeong Shimsu” is the work that represents Kim Baik-bong's dance language that is self-reflective; it is also healing.

The purpose of this study is to explore the ethical situations that field workers can face in dance art work with AI, especially focusing on the 'body alienation' situation of dancers. The study focused on literature research on AI and body alienation, semi-structured one-on-one phone interviews involving engineers and dancers who have experienced related work in the actual field, and structured one-on-one written interviews involving choreographers. As a result, we discovered situations and types of body alienation that can occur, such as ‘human body instrumentalized for AI learning’, ‘body alienation due to differences in performance capabilities between humans and AI’, and ‘body alienation due to capital and power’. The body alienation that can occur at this time includes not only issues of portrait rights, intellectual property rights, and copyright, but also personal privacy, labor alienation, psychological alienation, and biological alienation. It is expected that this study will be used in various ways as a basic study examining ethical factors that should be considered in the workplace of dance art using AI.