This study, drawing on Rancière's concept of the 'pensive image' examines the deconstruction of the medial boundaries of dance and the sensory limitations of life as depicted in Minamimura's Scored in Silence. The ‘pensive image’ does not focus on one side of the dichotomy, but rather on creating a new arrangement by connecting the incompatible elements in a new way. Referring to the concept of ‘pensive image’, this study examins the meaning of Minamimura's one-person performance, Scored in Silence, by dividing it into ‘spoken visual sound’ and ‘haptic vibration’. I suggest that the process of expressing the narrative through the deaf performer in the work mixes the identities of fine art media and opens up the possibility of new interpretation through the individual senses of the audience.

This research aims are to explore generation Z dance majors’ views on “good work”. We conducted, in-depth interviews with 20 dance major students at a four-year university in Seoul. The results show that, regarding the attributes of good work, students tended to rank good working conditions, job security, relevance to their major, personal interest, chances for personal development, salary, job appropriateness, and so on. Additionally, in comparing the perceived expectation levels for ideal jobs and jobs in reality, significant differences were seen in the particular jobs that were listed. The assessment of the job indicators for both occupational groups also indicated discrepancies. Examination of the gap between dance majors’ expectations for ideal jobs and their perceptions of jobs in reality identified high levels of awareness of a lack of diversity, few openings, the necessity for pragmatic compromises, low pay, and other issues, respectively. Considering these results, this study identifies that while there are differences between the specific jobs acknowledged by dance majors as good work and those available, their attitudes do not reveal new or revolutionary trends compared to past patterns. Therefore, the occupational attitudes and expectations of Generation Z dance majors appear to be passive and conservative.

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 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 meta-analysis examines 15 out of 502 studies searched in major academic databases in Korea in order to analyze the factors affecting the happiness of professional dancers. The overall average effect size was 0.462, which was found to have a moderate or higher positive effect between dance-related variables and happiness. By variable, self-identity (0.561), immersion experience and performance (0.525) showed the highest effect size, followed by social relationship and support (0.445), goal orientation and motivation (0.359), psychological competency and positivity (0.331). In terms of gender, men (0.448) and women (0.458) showed moderate or higher effect sizes. This result suggests that dance is acting as an integrated medium that encompasses self-realization, psychological growth, and identity reinforcement beyond a simple job, and suggests the need for a systematic and multidimensional approach to improve the happiness of dancers.

This study aims to critically approach the immersive element in William Forsythe's Heterotopia.. The research method uses a variety of data, including a direct viewing of the performance and criticism presentations, to overcome the limitations of literature research. The research discusses how Richard Schechner's environmental concept influenced early immersive performances in the postmodern period, while highlighting how Jacques Ranciere's concept of eliminating differences between the stage and the auditorium contributed to the full-scale spread and development of immersive performances. Based on this, space dismantling and installation, sound installation, movement away from traditional techniques, and active and subjective gaze of the audience are discussed as immersive elements in William Forsythe's Heterotopia. This study will provide important analytical data to the dance scene of Korea, where the production of dance works utilizing immersive elements has been increasing recently.