This study aims to reassess the distinctiveness and competitiveness of the Jeonju Daesaseup Festival, a traditional Korean music competition, and explore the utility of its various contents. To achieve this, the research analyzes the Daesaseup Festival evaluation sheets and observations of the competition and performance venues. The results of the study are as follows: Firstly, it is necessary to introduce differentiated competition categories and performances, as well as seminars for storytelling, folk music, dance, archery, and poetry, which are integral parts of the Daesaseup Festival. Secondly, historical sites such as Unhyeongung Palace, Jeolla Gamyeong, and Hanok Village can be transformed into tourist and cultural zones by integrating them with the competition and performances. Thirdly, the system of citizen judges should be adjusted to reflect a fair balance of gender and region. Reevaluation and careful management of the selection and operation of judges are necessary to ensure the fairness of the competition, and expansion of meticulous post-appointment management programs is also required. This study places significance on the historical aspect of the Jeonju Daesaseup Festival and its distinctiveness compared to other traditional art competitions.

This paper aims to examine the unique evolutionary process of traditional music and its characteristics by looking at the creation and succession of Steel-string Ajaeng sanjo. Sanjo-Ajaeng, which is mainly used for dance, continues its legacy as a solo instrument whereas Steel-string Ajaeng has been insufficiently transmitted. Thus, this study investigates the creation and spread of Yun Yun-seok’s Steel-string Ajaeng and re-examine the existing research and transmission value of Steel-string Ajaeng. For this purpose, the paper will look for the essence and value of transformation through the records of Yun Yun-seok's Steel-string Ajaeng performances and the process of completing Shin hyun-sik’s Steel-string Ajaeng sanjo style which is inherited from Yun Yun-seok. Yun Yun-seok je(body) Shin Hyun-sik ryu(style) Steel-string Ajaeng sanjo was completed in the form of sanjo by supplementing the limitations of improvisational research. In particular, he embraced all the characteristics of Gayageum and Ajaeng and searched for musical language based on sanjo to compose Ginsanjo with various rhythms. Also, it is hoped that creative inheritance methods like Steel-string Ajaeng Sanjo's composition principles will be widely used for the development of traditional music.

The purpose of this study is to analyze the educational demands for dance expression skills among dance major college students. The research methodology involved conducting a survey of 297 dance major college students, and frequencies and percentages were derived for each item. As a result, it was found that dance major college students hope for instructors who excel in dance expression skills and demand courses divided based on students' abilities, focusing on techniques during each session, ranging from 1 to 6 months in duration, twice a week during the first semester o f the second year, with each session lasting 30 to 60 minutes. This reflects the value of university dance expression education guidelines that respond to demand-centered requirements.

This study aims to study characteristics of Yi Maebang’s Honam Sword Dance. Literature research, image analysis, and the researcher’s own experience of the dance were used as research methods in this study. Through the investigation of Yi Maebang and his Honam Sword Dance components, the characteristics of Yi Maebang’s Honam Sword Dance can be classified into three categories. The first characteristic of Yi Maebang’s Honam Sword Dance is related to breathing circulation. This cycle of breathing appears in the harmony of yin and yang through the flow of Daesam and Sosam and in the movements of Jeong, Jung, and Dong. The second characteristic of his Honam Sword Dance is an aesthetic expressed through the dance’s tendency and form. In other words, the aesthetic of his dance is based on femininity and naturalness created by curved and circular movements. The third characteristic is the harmony of time and space, which can be found in the formation of “Gasaemulrigi.”

This study aims to obtain objective reliability for the criteria for the effective use of visual media in dance creative works, derived by the researcher through prior research on “A Study on the Utilization Effects of Visual Media in Dance Creative Works.” To achieve this, the study analyzes four contemporary Korean dance creative works that utilize visual media, validating the validity of the criteria for effectiveness. Accordingly, the research allows the choreographer, who is also the creator of the works, to apply thr criteria directly, enabling analysis of the visual effects based on choreographic intent.

Jeonju Daesaseupcheong(Jeonju Traditional Culture Building), founded in 2021, introduces a permanent performance system and presents traditional art performances every Saturday. With the annual number of visitors to Jeonju Hanok Village currently reaching 10 million, if the Jeonju Daesaseupcheong's permanent performance for tourists is activated, it will have infinite potential as a traditional art content and will become an unrivaled performance. This study has examined the current status of permanent performances on Saturdays and sought ways to enhance them based on a SWOT analysis of the Jeonju Daesaseupcheong’s performance report and Steering Committee’s activities. The results of the study are as follows. First, a promotional marketing strategy needs to be designed, targeting tourists in Hanok Village as main audiences for traditional art performances. Second, pansori-based Changgeuk(Traditional Korean opera) can be developed into a permanent performance repertoire. Third, a development of participatory content creation is suggested to encourage local residents’participation. This study makes some important contributions to suggesting the operational directions for the permanent Saturday performances of the Jeonju Daesaseupcheong.

The purpose of this study is to verify the effect of ‘Playing Metaverse Meta夢’ which is an ecological environmental arts education class incorporating a metaverse platform, on elementary school students' learning reality and active learning. Eleven elementary school students in the sixth grade from “A” Elementary School in Chungbuk were selected as the participants of the study and a single group pre-and post-design was used as a research method. This class was held for a total of six weeks from April 18 to May 23, 2023, for 90 min once a week. In terms of data processing, corresponding samples t-test and ANOVA were conducted through SPSS 21.0, and the significance level was p<.05. As a result, there were significant improvements in both learning reality and active learning. The study confirms that integrated art education contents using a metaverse platform, termed as ecological environmental art education, can increase elementary school students' learning reality and active learning.

This study analyzes William Forside’s Synchronous Objects for One Flat Thing, Reproduced from a geometric perspective. This dance is a digital work presented through an online platform, which combines various fields to produce 20 objects. The work uses geometric forms to express dancers’ movements and spatial interactions in various ways. In our study, the interaction and fusion of art and geometry are explored by analyzing the dancers’ movements by means of geometric shapes such as points, lines, and planes. It analyzes how various patterns and structures are formed in space when dancers pass each other or make synchronized movements. Therefore, this study contributes to geometrically analyzing and understanding the dancers’ movements and their uses of stage space by combining dance and geometry.

This study aims to analyze the life and aesthetic philosophy of Zhao Dexian, a pioneer and innovator Korean-Chinese dance theory. Zhao Dexian conducted research on the expressive techniques of dancers based on physiology and psychology, concurrently developing educational methods that combine theory and practice. This not only contributed to the development of Korean-Chinese traditional dance's stage expression but also played a significant role in an educational context. Building upon existing research, this study collects and organizes materials such as Zhao Dexian's writings, research papers, and critiques. In addition, it conducts in-depth interviews with Zhao Dexian's children, disciples, and relevant individuals to supplement any gaps in existing literature and to delve into the details of Zhao Dexian's growth and artistic activities while analyzing his aesthetic philosophy.

The aesthetic philosophy inherent in Zhao Dexian's dance art centers around the unification of mind and body. It explores how to harmonize emotional understanding and expression from both physiological and perspectives. The fundamental practice of this expression emphasizes dance training based on de analysis of humans through the "Si Xiang Fang" constitutional characteristics. In summary, this study highlights Zhao Dexian's contributions to the field of Korean-Chinese dance. Significantly, the study on his unique aesthetic philosophy suggests a further investgation of Korean-Chinese dance education and a better understanding of artistic exchange between Korea and China.

This study examines how Uyghur Bowl Dance has transforme over the years in Xinjiang, China. I used a eview of the records and image analysis to track changes in body postures, content, expressive methods, and social functions of Uyghur Bowl Dance. My analysis was carried out based on photos and drawings of the dance as well as pre-modern records Through the analysis of different cultural elements and characteristics that appeared in the formation of Uyghur Bowl Dance, this study identifies changes that occurred in the dance within different historical eras This study promotes the development of Chinese ethnic folk dances and serves as useful reference for the study of traditional dances in the history of Chinese ethnic culture and art.