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 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.

This study conducts a semiotic examination on Taryeonggwajang of Jeong Jaeman's Seungmu. As a research method, I used Saussure's binary opposition, Greimas' meaning generation model, actor model, and semiotic square. I suggests that the elements of binary opposition are not complete oppositions but are mutually complementary. Seungmu repeatedly uses the actor model in the succession process. In that, the narrative nature of Seungmu is completed. By applying the internal binary opposition elements to the semiotic square, I could expand the scope to the existence of 'non-yin' and 'non-yang' rather than just 'yin' and 'yang'. In the movement analysis, I illuminate that there is no repetition where the beat and movement match, and in the case of the same movement, the movement changes to the left and right direction and the speed of the movement gradually increase. In this way, the analysis of the various meanings and dance movements inherent in Taryeonggwajang could be another interpretive study.

This study analyzed the relationship among physical self-efficacy, intention to continue dance, and psychological happiness of Chinese public square dance participants. The researchers conducted a survey on Chinese public square dance participants, and SPSS 23.0 was used to analyze 334 people in total. According to the analysis results, first, it was found that physical self-efficacy had a significant influence on the intention to continue dance. Second, physical self-efficacy was found to have a significant influence on psychological happiness. Third, it was found that the intention to continue dance had a significant influence on psychological happiness. The result confirmed that the physical self-efficacy of the Chinese public square dance participants is an important factor that promotes the intention to continue dance and ultimately contributes to the improvement of individual psychological happiness. Therefore, we suggest an approach considering these factors is needed in in the future when designing a program to improve the happiness of Chinese leisure dance participants.

This study analyzes the cultural transformation process of government gisaengs from 1908 to 1945 through a cultural psychological perspective. To this end, various data such as newspapers and magazines at the time were used to examine the cultural change and adaptation patterns of government gisaengs from the socio-cultural and psychological aspects. John W. Berry's theory of cultural transformation provided the theoretical framework, upon which the changes of government gisaengs were categorized into four categories: assimilation, separation, integration, and marginalization. As a result of the study, in assimilation, separation, and integration, models, actors, singers, calligraphy artists, independence activists, parasitic schools, and gwonbeon trained professional artists to form a positive social identity. On the other hand, in the marginalization, a negative phenomenon of experiencing social exclusion and alienation and leading an unstable life appeared. This study will contribute to expanding the understanding of cultural transformation of traditional artists by revealing how the identity of government gisaengs was reconstructed in a cultural psychological manner amid modern changes.

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 analyzes the structural and characteristics principles of the ‘Basic Dance’ established by Kim Paik-bong. As research methods, I conduct archival research, oral histories from in-depth interviews, and an embodied observation analysis based on practice-based research. As a result, I illuminate the background of the formation of the format and the foundation of the structural system, and classify the structural principles with seven elements to identify the characteristics. ‘Kim Paik-bong’s Basic Dance’ is a ‘technical system’, ‘movement principle system’, and ‘shaping principle system’, which can be defined as the typicality, identity, and uniqueness of Kim Paik-bong dance, a latent creative concept and principle. Therefore, the Basic Dance of Kim Paik-bong is the cornerstone of creative repository in identifying and preserving her artistic world. As the foundation of her art form, it will present the ideal of recreation as a ‘prototype’ and ‘example’.

The purpose of this study is to investigate knowledge about Kim Baek-bong Fan Dance, which is designated as an intangible cultural heritage whose original form can be accurately identified among Fan Dances. Accordingly, this study conducted a survey of 236 people: Korean dance majors who have learned Kim Baek-bong Fan Dance in a school class for one semester, trainees and successors, those who have learned through a workshop, those who have briefly learned as a general special lecture, and those who have watched a performance.

As a result, the group of trainees and successors had a high correct answer rate overall in items related to the background of its creation, rhythm makeup, dance costume composition, aesthetic characteristics and fans, while the group that participated in general special lectures, workshops and watching tended to have a high incorrect answer rate.

This study recognizes the need for disseminating more accurate knowledge in a situation where fan dance is mistaken for a Chinese dance, and it is judged that this will contribute to exploring educational methods for the correct transmission of Korean intangible cultural heritage in the future.