Dance majors' dance emotional expressiveness is based on their body-emotion integration, which impacts their level of performance engagement. Through training to improve the expression of dance emotions, dance majors learn to identify and express their feelings. In this study, 507 Chinese majors in contemporary dance were asked to evaluate the relationship between dance emotional expressiveness and performance participation using emotional intelligence. The findings demonstrated a substantial relationship between dance emotional expressiveness and emotional intelligence, as well as a significant relationship between emotional intelligence and performance engagement. Furthermore, it was discovered that the relationship between dancers' emotional expressiveness and performance involvement was mediated by emotional intelligence. This study is important because it sheds light on the relationship between Chinese contemporary dance majors' performance engagement, emotional expressiveness, and emotional intelligence. This information will help develop better teaching strategies and curricula.

This study aims to reconsider the historical and cultural value of Jeonju Daesaseupnori by examining its 50- year history and acknowledge its status and meaning of existence. Accordingly, this paper summarizes the origin and formation process of Jeonju Daesaseupnori, which was revived in 1975, and identifies the way in which it was developed into the largest festival of pansori in the late Joseon Dynasty from various folk martial arts and performances practiced during the reign of King Sukjong. This paper also organizes the cultural value of Jeonju Daesaseupnori into the following five categories: historical, symbolic, community, aesthetic, and sustainability.

This study aims to explore the potential development of Jeonju Daesaseupnori by analyzing the recently popularized reality survival competition programs. The research focuses on identifying strategies that could enhance the popular appeal of Jeonju Daesaseupnori while preserving its traditional artistic values, through a literature review and analysis of previous studies. The results suggest applying key elements of survival competition programs, such as competitive narratives and public participation, to Jeonju Daesaseupnori. Specifically, this includes fostering fandom culture centered around expert listeners (Gwi-myeongchang), expanding opportunities for public participation in competitions, and introducing competitive storytelling systems to create new content. This approach is significant in that it explores ways for Jeonju Daesaseupnori to gain wider public support and further grow as a prominent K-content.

This study aims to improve the Performing Arts Archive Platform 'Byeolbyeol Stage' operated by The National Theater of Korea Museum of Performing Arts into an archive web service that reflects the characteristics of performing arts. To this end, I examined the current status of the museum's archives and accumulated information resources and derived the problems of 'Byeolbyeol Stage'. To improve the website, the digital curation strategy derived from the literature study was applied to 'Byeolbyeol Stage' and a relationship visualization and record linkage service plan was devised to suit the characteristics of performing arts. The proposal was made in consideration of the flexibility and ease of use of users who use various archival web services centered on performing arts.

This study aims to examine research trends related to the bodies of contemporary dance maors in South Korea and explore main research topics on body. As a research method, a text mining techniques, one of big data methods, was used to analyze the trends. As a result, it was found that the frequency of the term 'influence' was the highest, and N-gram connections related to 'influence,' 'dance,' and 'injury' were among the top findings. Topic modeling revealed themes such as 'dancers' body management,' 'emotional changes according to physical condition,' and 'the correlation between eating behavior and emotions in dance.' These results are expected to provide foundational data and direction for subsequent research.

This study aims to explore the life and art of Alexander Ekman, examining and critically analyzing the artistic characteristics of Ekman's reinterpretation of the classical work Swan Lake. The research discusses the multidisciplinary artistic elements present in this work from a critical perspective. For this purpose, the study utilized domestic and international video materials, reviews, and resources from Ekman's official website.The findings are as follows: First, from a choreographic perspective, Ekman structures the entire piece around the directorial element of 'situation,' integrating movements from ballet, tap dance, and musical theatre with theatrical elements to intuitively shape the performance. Second, he separates or deconstructs Tchaikovsky's original score while incorporating voice as an additional sound element and using the element of 'water' both visually and aurally. Third, Ekman employs dialogue from theatre to enhance dramatic situations and stage transitions, merging these with movement to expand the scope of his direction through the everyday nature of theatre. Fourth, he maximizes the effect of objects, stage sets, and installations to incorporate the mise-en-scene effect into the work.This study seeks to serve as a foundation for understanding the multidisciplinary and artistic innovations in Alexander Ekman's reinterpretation of Swan Lake.

The purpose of this study is to investigate and reflect on the pro-Japanese activities of Choe Seunghui, also known as Sai Shoki (1911-1969) during the Japanese colonial period. I reviewed literature including the Dictionary of Pro-Japanese Figures and documents from the Investigation Committee on Pro-Japanese Collaborators, as well as newspaper articles. Choe Seunghui's pro-Japanese activities from 1937 to 1944 included: first, donating large sums of money to national defense funds and pro-Japanese organizations; second, performing numerous consolation shows for the Imperial Japanese Army; and third, receiving the National Cultural Award for her pro-Japanese work Muhon. Immediately after liberation, Choe exhibited a process of denial, acknowledgment, atonement, and justification regarding her pro-Japanese actions. The study discusses her own stance on her pro-Japanese activities, the positions of South and North Korea, and the perspectives of the South Korean dance community after the lifting of restrictions on her works, highlighting the gap between 'facts' and 'acknowledgment.' In conclusion, the study emphasizes the importance of remembering both Choe Seunghui's pro-Japanese misconduct and her contributions to dance. As Hannah Arendt insightfully noted, the phenomenon of 'thoughtlessness' leading to immense evil can occur not only in past instances like Nazism or pro-Japanese collaboration but also in contemporary contexts. This study aims to assist the dance community in existing as reflective individuals, aware of these historical lessons.

This study is to examine No. 1 Kim Jin-Geol ｢Sanjo｣ and No. 19 Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣, which were selected as masterpieces among many other ‘Sanjo dance’ – dances that both accept and transform tradition – through the analysis of each dance’s structure, characteristics, and discursive meaning. The research method adopted spatial semiotics because the actions of Sanjo dances produce various meanings depending on their spatial composition. As a result of the study, the Sanjo rhythms include Jinyang, Jungmori, Jungjungmori, and Jajinmori. There are differences between Kim Jin-Geol ｢Sanjo｣, which was first created in 1953, and Jeong Jae-Man ｢Sanjo(CheongPungMyeongWol)｣, which began in the late 1990s, in terms of their utilization of stage space. Compared to Kim Jin-Geol ｢Sanjo｣, Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣had more diverse floor patterns and compositional structures and showed the incorporation of fans as props in dancers’ movements. This study is meaningful in examining the universal values and characteristics of Sanjo dances, and is valuable in recognizing the re-creations and contemporary values of traditional dances.

In contemporary K-pop there seems to be a rise in the amount of womanist cultural products that are part of a wave of home-grown, Korean-style “screen feminism” that must operate under semiotic cover, using the plausible deniability of the bukae in the name of art to not be accused of being a western-style “feminist.” I posit the notion of a “complaisant agency” that, like “docile agency” encompasses the meaning of willingly consenting to acquiring skills or the requisite tools needed in a field in which one cannot mount formal, visible resistance, while yet appearing to actively flourish and emotionally comply to standards and behaviors in the field. It is through the deceptive cover of “complaisant agency” that performers can stage cultural productions that are seemingly complicit in master narratives of subjugation but yet contain Trojan horses that explode with the potential to mount semiotic resistance and become a means to transgress. Counter to narratives that ascribe complicitly in the disempowerment of women to K-pop, in this paper I identify how some K-pop artists are engaged in the production of a new vision around women in Korean society.

This study aims to develop and implement an educational program to help elementary school students increase their mimetic expression skills by integrating storytelling into Hwataogeumhui, a movement set developed in China. Based on applied research, the results of the study are as follows. The program, structured around the processes of observation, mimicry, composition, and practice, consisted of five sessions targeting third-grade students, with each session lasting 40 minutes. Activities included observing animal movements through videos, performing Hwataogeumhui, creating their own movements as a group, presenting their work, and practicing exercise. The educational effects were qualitatively evaluated based on teachers’ reports on students’ progress and group presentations. The results revealed three educational effects: movement motivated through storytelling, complexity and mutual complementarity experienced by group activities, and learning abilities enhanced through the integration of other subjects into dance. Additionally, it is necessary to provide diverse and rich educational materials tailored to students’ learning levels. Furthermore, it is recommended that elementary school teachers have basic knowledge in dance education in order to implement gradual and continuous dance classes in elementary schools.