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 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 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 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.

This study was to examine the achievements of major organizations that influenced the development of the dance world in Busan and to present their opinions on the direction of efforts to develop in the future. In this study, data were collected and analyzed through the literature review and the results were as follows. First, Busan Branch of The Korea Dance Assoiation played a central role in the Busan dance world. Second, Busan Folklore Conservation Association has worked hard to preserve and foster Busan's folk dance. Third, Busan Metropolitan Dance Company contributed to popularization by creating and performing various works representing Busan. Fourth, the dance department of a university located in Busan has been the main focus on cultivating talent through dance education. Fifth, Busan International Dance Festival Orgnizing Committee diversified and publicized dance performances, and also achieved dancers' overseas expansion.

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.

This study aims to improve the Performing Arts Archive Platform 'Byeolbyeol Stage' operated by The National Theater of Korea Museum of Performing Arts into an archive web service that reflects the characteristics of performing arts. To this end, I examined the current status of the museum's archives and accumulated information resources and derived the problems of 'Byeolbyeol Stage'. To improve the website, the digital curation strategy derived from the literature study was applied to 'Byeolbyeol Stage' and a relationship visualization and record linkage service plan was devised to suit the characteristics of performing arts. The proposal was made in consideration of the flexibility and ease of use of users who use various archival web services centered on performing arts.

This study aims to reassess the distinctiveness and competitiveness of the Jeonju Daesaseup Festival, a traditional Korean music competition, and explore the utility of its various contents. To achieve this, the research analyzes the Daesaseup Festival evaluation sheets and observations of the competition and performance venues. The results of the study are as follows: Firstly, it is necessary to introduce differentiated competition categories and performances, as well as seminars for storytelling, folk music, dance, archery, and poetry, which are integral parts of the Daesaseup Festival. Secondly, historical sites such as Unhyeongung Palace, Jeolla Gamyeong, and Hanok Village can be transformed into tourist and cultural zones by integrating them with the competition and performances. Thirdly, the system of citizen judges should be adjusted to reflect a fair balance of gender and region. Reevaluation and careful management of the selection and operation of judges are necessary to ensure the fairness of the competition, and expansion of meticulous post-appointment management programs is also required. This study places significance on the historical aspect of the Jeonju Daesaseup Festival and its distinctiveness compared to other traditional art competitions.

The Jeonju Daesaseumnori National Competition has a history of more than 300 years that originated from ‘Jeonju Tongincheong,’a contest established during the late Joseon dynasty. Despite the competition’s long history and tradition, it remains under-researched. Therefore, this study analyzes “Jeonju Daesaseup Dyeon”, one of the planned performances of the Jeonju Daesaseumnori Preservation Association. Based on the performance report of “Jeonju Daesaseup Dyeon,” the problems with this performance were identified and a revitalization plan was developed as follows. First, since the proportion of duplicate performers during the four-year performance accounts for more than 50%, opportunities for new winners to participate should be expanded. Second, since there are many fragmentary promotional activities, strategic promotional marketing and customer management are required. Third, since the similar performance content and format were repeated, improvements in the content of performance are necessary. It is difficult to generalize our recommendations based on only one case study. However, this study is important in that it offers insights on how to develop and revitalize the Jeonju Daesaseumnori Competition.