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 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 meta-analysis examines 15 out of 502 studies searched in major academic databases in Korea in order to analyze the factors affecting the happiness of professional dancers. The overall average effect size was 0.462, which was found to have a moderate or higher positive effect between dance-related variables and happiness. By variable, self-identity (0.561), immersion experience and performance (0.525) showed the highest effect size, followed by social relationship and support (0.445), goal orientation and motivation (0.359), psychological competency and positivity (0.331). In terms of gender, men (0.448) and women (0.458) showed moderate or higher effect sizes. This result suggests that dance is acting as an integrated medium that encompasses self-realization, psychological growth, and identity reinforcement beyond a simple job, and suggests the need for a systematic and multidimensional approach to improve the happiness of dancers.

This study aims to critically approach the immersive element in William Forsythe's Heterotopia.. The research method uses a variety of data, including a direct viewing of the performance and criticism presentations, to overcome the limitations of literature research. The research discusses how Richard Schechner's environmental concept influenced early immersive performances in the postmodern period, while highlighting how Jacques Ranciere's concept of eliminating differences between the stage and the auditorium contributed to the full-scale spread and development of immersive performances. Based on this, space dismantling and installation, sound installation, movement away from traditional techniques, and active and subjective gaze of the audience are discussed as immersive elements in William Forsythe's Heterotopia. This study will provide important analytical data to the dance scene of Korea, where the production of dance works utilizing immersive elements has been increasing recently.

This study examines the development process of dancesports in Korea and China and suggests future development direction in order to provide a reference for the scientific and systematic development of dance sports in the two countries. To this end, we analyze and compare the literature on the development process of dancesports in Korea and China. The analysis shows that, compared to developed countries, the two nations fall short in terms of technical expertise and organizational management approaches. In the future, to promote the development of dancesports in both countries, it is necessary to raise public awareness, strengthen education within universities, and shift towards specialization and generalization, reflecting the cultural characteristics of each nation. This analysis shows that the balanced development of dancesports between Korea and China helps strengthen the country's competitiveness.

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 examines Gisele Vienne’s Crowd through the theoretical framework of Erich Fromm’s escape from freedom, analyzing how emotional control and the illusion of freedom are visually and physically represented on stage in contemporary society. The study adopts a multi-method approach combining literature review, live performance observation, and interviews, and centers its analysis on three sensory dimensions: music, the body, and space. The analysis reveals that the work, through the juxtaposition of fast-paced music, slow movements, and collective spatial flows, presents a structure of emotional regulation, the loss of autonomy, and a sensory structure of controlled freedom. These findings illustrate how Fromm’s mechanism of escape from freedom is sensorially embodied in contemporary art, and suggest that art can function as a space for critically reflecting on social anxiety and psychological structures.

Marion Meyer’s Pina Bausch: Tanz kann fast alles sein resonates deeply from its title alone. “Unending gesture” implies that while Bausch is no longer with us, her artistic spirit lives on and continues to inspire future generations. Written by journalist Marion Meyer and translated by Joonseo Lee, the book is divided into nineteen chapters that chronologically follow Bausch’s artistic journey. It highlights not only her most renowned works but also lesser-known pieces, offering insight into their creative processes and behind-the-scenes stories. Photos from rehearsals and performances, as well as images with fellow artists, enrich the narrative. The book unfolds from three key perspectives: Bausch’s childhood and student life in New York; her creative work in Wuppertal and abroad; and the continuation of her legacy after her death. It also includes interviews with Bausch and her dancers, who speak of her not just as a director but as a companion in artistic exploration. These testimonies reveal how her presence lived vividly in the people she worked with. Ultimately, Pina Bausch: Tanz kann fast alles sein is not just a biography, but a testament to how Pina Bausch’s art continues to move within the bodies and memories of those she touched.

『움직이는 인터-아시아: 방법으로서의 춤』은 2022년 12월에 학술지 ｢인터-아시아 문 화연구｣의 춤 특별호로 발행되었던 글을 묶은 선집이며, 시의적절하게 출판되었다. 공개모 집으로 선정된 열 편의 논문과 편집자들이 앞서 발행했던 논문 두편을 묶어 동시대 무용 학에 새롭게 기여한다. 책은 전통적인 국가별 구획을 따르기보다 아시아 국가들 간의 상호 작용이 얼마나 복잡한지, 그리고 춤이 교류에서 얼마나 중요한 역할을 하는지를 강조한다. ‘인터-아시아’는 이 책의 핵심 개념으로 국가 기반 관점에서 벗어나 다양한 아시아 국가들이 공유하는 탈식민지적 위치를 연결한다. 책의 부제인 ‘방법으로서의 춤’은 모든 저자들이, 비록 학문적 분야가 다르고 연구 형식과 기법이 다름에도 불구하고 모두 춤을 동양-서양을 나누는 유럽중심적 구분에서 벗어나 중요한 체화된 접근법으로 바라본다는 점을 보여준다. 책의 구성은 동아시아, 동남아시아, 남아시아 등 지리적 지역에 따라 대략적으로 분류되 었으며, 역사적이거나 동시대적인 춤 활동을 포괄한다. 전통적인 고전 혹은 민속무용부터 모던댄스, 케이팝, 심지어 스크린댄스까지 다양한 무용 장르를 다루면서 다문화주의, 제국 주의, 민족주의, 문화외교 등 다양한 이슈를 둘러싼 복잡한 담론을 형성한다. 종합해 볼 때 이 책의 논문들은 무용고등교육을 위한 읽기자료로서 귀중한 자료를 제공한다.