This study examined the effects of performance participation motivation on dance self-confidence and major satisfaction among Chinese international students majoring in dance studying at Korean universities and tested the mediating effect of dance self-confidence. A survey was conducted with 303 respondents, and the collected data were analyzed using measurement and structural equation models. The results showed that performance participation motivation had significant positive effects on both dance self-confidence and major satisfaction. Dance self-confidence also had a significant positive effect on major satisfaction and demonstrated a mediating effect in the relationship between performance participation motivation and major satisfaction. These findings suggest that systematic support for performance experiences and educational support measures to enhance dance self-confidence are necessary to improve major satisfaction and academic adjustment among international dance major students in Korea.

This study chronologically analyzes the institutional changes of the Seoul Dance Festival(SDF) using the framework of New Institutionalism to identify the festival’s function as an institutional field where national cultural policy, the artists’ community, and social discourse intersect. The research employs a three-tiered analytical framework —policy history, institutional history, and cognitive discourse—to structure the festival’s stages of formation, transition, and institutionalization. The analysis reveals that the SDF’s institutional evolution accompanied the complex interplay of regulative, normative, and cognitive factors. Key drivers included internal critical discourse from the dance community, the national cultural policy’s ‘Arm’s Length Principle’, and the exogenous pressure of adopting ESG-based operations. This empirically demonstrates the realization of Discursive Institutionalism, where social values such as fairness, transparency, and sustainability become internalized as institutional norms. Ultimately, the Seoul Dance Festival transitioned from a ‘regulative institution’ focused on administrative efficiency to a ‘discursive institution’ that has internalized social trust and value. This confirms the shift in Korean arts administration from an emphasis on efficiency rationality to a cultural rationality centered on social discourse.

This study aims to examine the current status and challenges in the operation of dance curricula in arts high schools under the 2022 revised national curriculum, and to explore directions for improvement. To this end,we conducted in-depth interviews with 14 dance teachers The analysis yielded three main categories perceptions of the dance curriculum, challenges in dance education, and strategies for improvement as well as eleven subcategories and 21 key concepts. The findings identified issues such as a lack of autonomy in curriculum implementation, an entrance-exam-oriented educational structure, limited teacher expertise, and a gap between policy and practice. In response, the study suggests key the following developmental directions: establishing the identity of the dance curriculum, adopting a holistic educational approach, strengthening teacher professionalism, expanding expert participation, and reinforcing the status of dance as an independent subject. This research seeks to provide foundational insights to position dance education as an independent discipline that supports students’ holistic growth.

This study investigates the relationship among participation motivation in dance programs, positive psychological capital, and successful aging among middle-aged adults attending seniors universities. The participants were middle-aged adults who took part in dance programs at seniors universities in four cities with a high level of aging in Jiangsu Province. A total of 312 valid questionnaires were used for the final analysis. The measurement tools used in this study were questionnaires on participation motivation, positive psychological capital, and successful aging. The collected data were analyzed using SPSS WIN VER 27.0 and AMOS 26.0. The results of this study are as follows: First, dance programs motivation was found to have a significant effect on positive psychological capital. Second, dance programs motivation was found to have a significant effect on successful aging. Third, positive psychological capital was found to have a mediating effect on the relationship between participation motivation and successful aging. This study suggests that dance programs can enhance the positive psychological capital of middle-aged adults and contribute to the promotion of successful aging.

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 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 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’.

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.

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.