This study conducted a systematic literature review(SLR) of empirical research on international students majoring in dance in Korea published between 2020 and 2025, examining research topic trends and methodological characteristics. Using PRISMA 2020 guidelines and the Mixed Methods Appraisal Tool(MMAT, 2018), the analysis revealed a strong predominance of non-randomized quantitative studies (81.6%) and a limited presence of qualitative research (2.6%). Findings indicated that the career development, university adaptation, and psychological experiences of international dance students were shaped through interactions within sociocultural contexts and the artistic practice of dance, rather than being confined to individual factors. However, existing studies largely adopted an individual-variable-centered approach, with limited integration of cultural and educational contexts. This review provided foundational insights for advancing the internationalization of dance education and improving research quality on international students.

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.

The purpose of this study is to examine the current status of dance education in the Jeonbuk region and ways to localize the career paths and jobs of dance majors. To this end, the current status of professional dance education in the Jeonbuk region was examined through the analysis of published scholarly articles and online information platforms, and the problems of the decrease in professional dance education institutions and the lack of awareness of related occupations were identified. The study further assembled information on career and job paths based on the researcher's career/job consulting experience and sought ways in which dance majors from Jeonbuk or dance majors at professional education institutions in the Jeonbuk region could settle in the region and develop stable career activities. The study offers useful information to dance majors and dance educators who train dance majors in the Jeonbuk region for effective career/employment counseling and education. It also aims to establish a foundation for linking the curriculum of dance departments with career/employment.

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.

This study aims to analyze the life and aesthetic philosophy of Zhao Dexian, a pioneer and innovator Korean-Chinese dance theory. Zhao Dexian conducted research on the expressive techniques of dancers based on physiology and psychology, concurrently developing educational methods that combine theory and practice. This not only contributed to the development of Korean-Chinese traditional dance's stage expression but also played a significant role in an educational context. Building upon existing research, this study collects and organizes materials such as Zhao Dexian's writings, research papers, and critiques. In addition, it conducts in-depth interviews with Zhao Dexian's children, disciples, and relevant individuals to supplement any gaps in existing literature and to delve into the details of Zhao Dexian's growth and artistic activities while analyzing his aesthetic philosophy.

The aesthetic philosophy inherent in Zhao Dexian's dance art centers around the unification of mind and body. It explores how to harmonize emotional understanding and expression from both physiological and perspectives. The fundamental practice of this expression emphasizes dance training based on de analysis of humans through the "Si Xiang Fang" constitutional characteristics. In summary, this study highlights Zhao Dexian's contributions to the field of Korean-Chinese dance. Significantly, the study on his unique aesthetic philosophy suggests a further investgation of Korean-Chinese dance education and a better understanding of artistic exchange between Korea and China.

The purpose of this study is to better understand how Z-generation dance majors respond to different types of dance professors. We surveyed 252 graduates of higher education institutions using independent sample T-tests and one-way ANOVA. Then we analyzed the data to determine whether differences can be observed in a statistically significant way according to the general characteristics of respondents. There was a difference in preference for types of dance professors according to respondents’ age and major. According to our study, Z-generation dance major students prefer to receive education from professors with self-directed and democratic approaches to learning. Consequently, it was concluded that university education requires democratic changes in order for students to be able to participate in decision-making. The results of this study are expected to contribute to improving the effectiveness of dance education, as well as directing future higher education.

Dance education has the potential to improve the spirit, because of the essential of dance which requires the participation of whole mind such as the creative, emotional, moral, spiritual. Exploring the theoric and experiential grounds about dance and mind and heart education, this study is to guess the possibility of mind and heart education through the dance, and suggest the definite data. What dance contribute to mind and heart education are divided into four aspects: the intellectual, the emotional, the moral, and spiritual. First, dance can help one improve the creativity. For this, it is important to provide the chances of movement study, and use various sources and mediums. Second, dance can help one cultivate the emotion and sensibility. For this, it is important to help practice the movements, and recommend various indirect experiences. Third, dance can help one cultivate the personal and social virtue. For this, it is important to promote cooperative learning, and praise and encourage. Fourth, dance can help one improve flow, happiness, and self-realization. For this, it is important to take the lead, and recommend various indirect experiences. However, researches about its content and method are all yet to be inadequate. To rectify, theoric discussion in depth, developing practical teaching model and programmes, practice in various educational settings are needed.

While students attend elementary and secondary dance classes, they develop the internal characteristics such as self-regulation, positive attitude, creativity, cooperation. Such characteristics help students grow as self-motivated human beings, leading development by themselves. This process in dance classes is very similar to the empowerment process in the business organization, where self-efficacy among organizational members is enhanced and their behavioral patterns are changed. With regard to the empowerment process in dance classes, the role of a dance teacher as a leader is important. Then, this study purposes to analyze the leadership model of elementary and secondary dancer teachers in order to enhance their capabilities to affect the empowerment process in dance education. The main results are as follows. The leadership model of dancer teachers consists of three components. First, dance teachers need to be self-empowered through a change in attitude. Such self-empowerment help dance teachers enhance self-esteem, and confidence in others. Secondly, dance teachers need to recognize such roles of a leader as the cooperator, the creator, the coach, the counselor, the mentor, the provider of challenging opportunities, and the capability developer. Thirdly, to enhance empowering abilities of students, dancer teachers may use the implementation skills of leadership such as coaching, counseling, mentoring, and participative decision making. Because the leadership model suggested in this study is analyzed theoretically, the future study should be focused on the empirical analysis of the actual leadership program in order to verify the effectiveness of the theoretical leadership model, and develop the leadership program of a high degree of completion.

To evaluate properly the performance of the dance education program, it is necessary to develop the evaluation model based on logical and efficient principles. In other words, it is needed to develop the evaluation model which can provide answers for key questions related to the performance of the dance education program. Then, the purpose of this study is to develop a systematic evaluation model in order to properly evaluate the dance educational program operated by Korea Arts & Service Education Service. To build up a systematic model for the performance measurement, the basic framework of the logic model is used, for the logic model has been widely considered to help evaluators design evaluation and performance measurement for various programs. The evaluation model derived in this study logically explains the structural relationship among key elements in the evaluation process, and provides performance indicators which make it possible to measure performance outcomes and impacts quantitatively. Using the suggested model, it is expected to find ways to improve the existing dance education program operated by Korea Arts & Service Education Service effectively and efficiently.

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.