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 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.

This study explores the possibilities and issues of NFT for dance records, setting preservation, exchange value, and the ethics of representation as its main agenda. The methods are literature analysis and case study. The discussion holds that NFT, as a non-fungible token, has the technical capacity to secure both authenticity preservation in dance documentation and commercial viability. In particular, from the standpoint of scarcity, NFT amplifies the aesthetic value of works and supports creators through rights protection and revenue sharing, indicating considerable industrial potential. However, sustained examination of the risks of legal disputes is required. In conclusion, NFT can provide an opportunity for an ecological transition of dance archives and has utilitarian value as a community token that advances the publicness and shareability of records. Therefore, even with ongoing technological developments such as AI, continued discourse on dance NFT is necessary.

This study examines the significance of shin minyo dance, a modern dance heritage that was popular from the 1930s to the 1960s, with particular focus on the works of Bae Guja, who created dances based on the folk songs Cheonan Samgeori and Doraji Taryeong. Employing a practice-based research methodology, the study centers on the processes of re-enactment and restoration, while analyzing the reproduction of these works in a contemporary context. The findings reveal that the living transmission of cultural heritage lies not merely in reproduction or restoration, but more importantly in the modern succession and sustainability of dance that reflects both national identity and regional characteristics. Furthermore, this research proposes creative methodologies for integrating the cultural value of traditional dance into contemporary society and underscores the significance of modern succession of modern dance heritage.

This study, focusing on the Lion Dance Act of Bukcheong Saja Noleum, explores the potential of traditional arts as creative resources in contemporary performing arts. The research employed a comparative cultural case study in conjunction with creative practice research. First, a review of literature and analysis of video materials examined the performance structure, dance movements, and symbolic system of the lion dance. Second, the researcher’s own choreographic practice, transformed the traditional movements and reconfigured them into new choreographic vocabularies. The findings revealed, first, that the themes, spatial pathways, music, and costumes of the lion dance were reconstructed in the creative work Lion Play, and second, that expressive symbolism emerged, highlighting apotropaic functions, reconciliation and coexistence, and the festive spirit of community. This study demonstrates how traditional arts can generate new meanings and aesthetic values within the language of contemporary dance, while also identifying points of connection between tradition and modern performance. Furthermore, it suggests the potential of traditional heritage-based dance creation to expand artistic practices and to serve as foundational resources in production, planning, and education within the performing arts.