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 examines the contemporary dance work Yunhoejeok Macbeth (2025) to investigate how nonverbal cues touch, distance, gaze, spatial formation, and rhythm semiotically mark the Lady Macbeth Macbeth relationship and how their repetition and accumulation lead to relational shift and collapse, while evaluating the applicability of Transactional Analysis (TA) . The work was segmented into scenes and the cues were coded as signifiers and interpreted through the signifier signified framework of dance semiotics and TA concepts, including ulterior transactions and ego states (Parent Adult Child) The analysis revealsthat in Scene 2, Lady Macbeth’s approach, contact, and central positioning reinforce covert control and pressure beneath apparent collusion, intensifying relational asymmetry. This is accompanied by weakened adult regulation (A) and heightened parent control (P) and child instability (C). Scene 3 employs repetitive movement and circular formations to present a cyclical structure of samsaric recurrence following catastrophe. This study demonstrates that nonverbal cues function as semiotic units that produce and transform relational meaning and confirms the productivie applicatbility of TA concepts to dance analysis.

This study aimed to examine the effects of professor student interaction on class satisfaction and career exploration behavior among Chinese international students majoring in dance in Korean universities. A survey was conducted with 312 Chinese dance students enrolled in university dance programs across Korea, and 310 valid responses were analyzed using SPSS 26.0 and Amos 24.0. The results indicated that students with higher academic levels and advanced Korean language proficiency demonstrated more active professor student interaction and career exploration behavior. Furthermore, professor student interaction had a positive effect on class satisfaction and significantly promoted career exploration behavior. Class satisfaction also played an important role in enhancing students’ engagement in career exploration. These findings provide practical implications for improving curricula and designing targeted career support strategies for Chinese dance students studying in Korea, highlighting the importance of fostering effective professor student interactions to support academic engagement and future career development.

This study examines how Han Seongjun’s aesthetics in Jeukheungmu were transmitted to Gang Seonyeong. Using documents from the Joseon Music and Dance Institute and oral accounts from Gang and her successor Gim Miran, the study employs an interpretive method. Han’s instruction- “gcombine the learned movements and create your own dance”-shows his view of Jeukheungmu as a form of individuality and inner freedom. Gang embodied this lineage through affective contrasts of stillness and sudden release and the coexistence of joy and sorrow. Testimony on the “six movements” confirms Jeukheungmu as a core creative-pedagogical system reflecting Han’s aesthetics. This study clarifies how freedom and emotion are inherited within Korean dance.

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 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 examined examine the effect of resilience on dance performance confidence of university students majoring in modern dance and to investigate the mediating role of psychological well-being in this relationship. Data were collected from 154 modern dance majors across Korea using a non-probability sampling method, and an online survey was employed for analysis. The validity and reliability of the collected data were confirmed through factor and reliability analyses, followed by multiple regression analysis and mediation analysis based on the procedure proposed by Baron and Kenny (1986). The results indicated that resilience had a significant positive effect on dance performance confidence, and that psychological well-being was found to mediate this relationship.

The purpose of this study is to examine how Gyeonggi-do Dang-gut has influenced contemporary dances that use jinsoe as a prop and to explore the ways in which these dances have developed. As research methods, prior studies were reviewed, and video materials were analyzed. Dances that utilize jinsoe and have been inherited and developed from the lineage of Gyeonggi-do Dang-gut include Lee Yong-woo and Kim Sook-ja’s Turbulim Dance, Lee Dong-an’s Jinsoe Dance, and Jo Heung-dong’s Jinsoe Dance. This study investigates the origins, forms, and artistic characteristics of these dances, as well as their relationship to the roots of Gyeonggi-do Dodang-gut. All of these works employ the rhythmic patterns (jangdan) of Gyeonggi-do Dodang-gut and either transform actions derived from the ritual sequence of gut into performing arts or transmit them through the formalization of artistic works. Jo Heung-dong’s Jinsoe Dance is further identified as a creatively developed work grounded in tradition.

This study examines pre-service teachers’ educational perceptions of digital physical expression activities while utilizing lifelogging tools such as Mocopi and Padlet with 58 pre-service teachers from two departments at C National University of Education.. Using Q methodology, the study proceeded through the following stages: the development of Q statements related to the research topic, the selection of participants as the P sample, and factor analysis to identify types of educational perceptions. As a result First, the Active Acceptance and Selective Utilization groups highlighted the positive aspects of lifelogging, including memory support, personalized learning experiences, and creative self-expression. Second, the Avoidant and Indifferent groups pointed out negative factors, such as concerns about privacy invasion, psychological burden, and digital fatigue. Third, the findings emphasized the need to provide user-tailored solutions for effective adoption. Fourth, lifelogging-based physical activities with Mocopi and Padlet were shown to foster social presence and strengthen mutual connectedness among learners.

This study examines the entire creative process of the dance work Dance Speaks for Me to articulate the choreographer’s stylistic approach and artistic philosophy. Using Practice-Based Research (PBR), the research analyzes the stages of conception, choreography, rehearsal, performance, and post-performance reflection. The findings reveal that dancers’ bodies function as active agents that generate narrative meaning through sensory experience. Sensory-based movement exploration facilitates the emergence of natural and organic movement qualities, extending choreography beyond formal composition toward philosophical and relational dimensions. This process identifies three core movement characteristics: immanence, narrativity, and resonance. The study further confirms that not only the final outcome but the creative process itself operates as a central choreographic principle. Consequently, the choreographer’s artistic philosophy and style are systematized around sensory awareness, while democratic communication between choreographer and dancers proved essential in fostering dancers’ growth as expressive subjects rather than passive performers.