This study aimed to investigate the relationship among the grit of professional dancers, protean career attitude, and subjective career success. Collected through a purposive sampling method, 330 questionnaires of dancers were used for the final analysis, and the results obtained through validity analysis, reliability analysis, frequency analysis, correlation analysis, and regression analysis are as follows. First, it was found that the grit of professional dancers had a significant effect on protean career attitude. Second, it was found that the grit of professional dancers had a significant effect on subjective career success. Third, it was found that the protean career attitude of professional dancers had a significant effect on subjective career success. The result of this study suggests that dance organizations should strive to improve the level of not only dancers but also the entire dance group by strengthening support for the career development of dancers for the protean career attitude and subjective career success of professional dancers. The expansion and application of grit education to improve subjective career success of professional dancers is also required.

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.

The purpose of this study was to explore the impact of SNS-based communication on organizational commitment among Korean dancers. The collected data were analyzed using SPSS Ver. 29.0, employing frequency analysis, exploratory factor analysis, reliability analysis, correlation analysis, and multiple regression analysis to derive the research findings. SNS communication significantly influenced all three types of organizational commitment: continuance commitment, normative commitment, and affective commitment. Specifically, clear responses and empathy had the most substantial impact on continuance commitment, while information sharing and empathy were most influential for normative commitment. Affective commitment was primarily affected by clear responses. The study also revealed that excessive use of SNS could have a negative impact by fostering comparison and competition, which could hinder organizational commitment. Therefore, dance organizations should develop strategies to enhance positive communication through SNS while minimizing its negative effects.

The purpose of this study is to identify expressive characteristics by examining the choreographic intention and movement meaning of the scarf-dance part in the Kim Baik-bong Sanjo Dance “Cheongmyeong Shimsu”. The study utilizes literature research and participatory observation methods, including in-depth interviews and embodiment. The analysis criteria on the relationship between the dancer and the scarf were based on movement emphasizing technical aspects and movements focusing on emotional exchange. The expressive characteristics of movements can be organized into 12 categories such as “mother's love,” “life's solid experience,” “life's reincarnation,” and “deep and full sadness.” In “Cheongmyeong Shimsu”, the scarf is not just a prop but contains the choreographer's philosophy and ideals. It also conveys emotions effectively, which helps the theme of dance be delivered clearly. “Cheongmyeong Shimsu” is the work that represents Kim Baik-bong's dance language that is self-reflective; it is also healing.

This study aims to examine the moderating effect of work-life balance perception on the relationship between job autonomy, job satisfaction, and organizational commitment among professional ballet dancers. To achieve this goal, a survey (April - June 2024) was conducted among 151 professional ballet dancers (employed, freelance, temporary, and part-time) residing in Seoul and Gyeonggi Province. The results (PLS SEM) reveal that job autonomy has a statistically significant positive impact on both job satisfaction and organizational commitment, and that job satisfaction, in turn, positively affects organizational commitment. However, while work-life balance perception has a statistically positive effect on job satisfaction, it negatively moderates the relationship between job autonomy and job satisfaction. These findings suggest that although professional ballet dancers place high value on autonomy within their organizations, their demand for work-life balance may, paradoxically, detract from job satisfaction when both autonomy and work-life balance are highly prioritized.

The purpose of this study is to explore the communal life and aesthetic consciousness inherent in Su-yeongJi-shin Bal-gi and re-evaluate its value as a form of folk culture. The main discussion of this paper focused on folk culture and folk dance as a communal cultural element through the analysis of literature and academic materials related to Su-yeong Ji-shin Bal-gi. In addition, photographs taken at the 49th Suyeong Traditional Folk Arts Festival were used as research data to describe and analyze the dance movements. As a result of the study, the aesthetic consciousness of the East, which prioritizes naturalness, and that of the West, which emphasizes orderliness, are both embedded in the ritual. Additionally, the ritual embraces the dance principle of Jeongjungdong represented in Korean traditional dance, the communal dance seen in Madang, and the subject-object unity between performers and spectators.

The purpose of this study is to examine the current status of dance education in the Jeonbuk region and ways to localize the career paths and jobs of dance majors. To this end, the current status of professional dance education in the Jeonbuk region was examined through the analysis of published scholarly articles and online information platforms, and the problems of the decrease in professional dance education institutions and the lack of awareness of related occupations were identified. The study further assembled information on career and job paths based on the researcher's career/job consulting experience and sought ways in which dance majors from Jeonbuk or dance majors at professional education institutions in the Jeonbuk region could settle in the region and develop stable career activities. The study offers useful information to dance majors and dance educators who train dance majors in the Jeonbuk region for effective career/employment counseling and education. It also aims to establish a foundation for linking the curriculum of dance departments with career/employment.

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 illuminate the development and characteristics of dances in the area of Seoul based on achievements and significant contributions of Han Seong-jun, a master of Korean traditional dance. The study period spans from 1908, when Han Seong-jun settled in Seoul, to 1941, the year of his passing. Research methods involve literature related to Korean music and dance, as well as examining newspaper materials. The research focuses on Han Seong-jun’s dance lineage within traditional dance. The findings reveal that dance evolved through both theatrical and private arts organizations. In the early 1900s, Seoul-based dances, following Han Seong-jun’s legacy, were performed by artists associated with various private arts groups, gradually transitioning into commercialized, staged, and entertainment-oriented forms. From a traditional and creative perspective, dances are categorized into those transmitted and performed continuously and those that have disappeared and are now being revived. From today’s perspective, the approximately 72 works that Han Seong-jun staged, restructured, and created can be considered ‘Han Seong-jun style new tradition’. Most of the works have been destroyed, but there has been a movement to restore and reproduce them recently.

This study investigates the necessity of training methods in performing traditional Korean dances and suggests a possibility of using them. To this end, Bae Junghye's Korean dance training method was used to describe and analyze traditional dance movements. Bae Junghye’s method can be utilized for the following reasons. First, it helps dancers practice and strengthen movements during their training. Second, it can be appropriately applied depending on the purpose of movement expression. Third, it can be used for basic exercises before performing a dance. Fourth, systematic training of movements is possible through Bae Junghye’s Korean dance method.