This study examines the development process of dancesports in Korea and China and suggests future development direction in order to provide a reference for the scientific and systematic development of dance sports in the two countries. To this end, we analyze and compare the literature on the development process of dancesports in Korea and China. The analysis shows that, compared to developed countries, the two nations fall short in terms of technical expertise and organizational management approaches. In the future, to promote the development of dancesports in both countries, it is necessary to raise public awareness, strengthen education within universities, and shift towards specialization and generalization, reflecting the cultural characteristics of each nation. This analysis shows that the balanced development of dancesports between Korea and China helps strengthen the country's competitiveness.

The purpose of this study is to investigate the value and effect of Myeongjakmu as cultural contents and to study development measures for revitalization. A total of eleven experts, including eight original performers and successors of Myeongjakmu and three dance performance planners and administrators, were interviewed in both unstructured and semi-structured ways. Based on the data collected from the interviews with these experts, two areas of Myeongjakmu – its creative values and its ripple effects – emerged to serve as cultural contents. Music, dance moves, costumes, and props were categorized into the creative value area, while popularization, consensus formation, and accessibility were classified into the area of ripple effects. In this article we propose four development plans to revitalize Myeongjakmu based on the experts opinions. Establishing the status of Myeongjakmu, policy support, deepening expertise, and securing sustainability. These actions will increase the value of the disappearing Korean dance cultural heritage as a systematic study for future Myeongjakmu, and contribute to the establishment of related knowledge systems and basic composition of transfer materials.

The purpose of this study is to provide basic data that can serve as a guideline for understanding and interpreting the current state of Korean street dance by examining the inflow and development of Locking dance in Korea.

As research methods, interviews with three Locking experts were conducted and each interviewee’s responses were thematically categorized for the analysis of the study. As a result, Locking dance was introduced to Korean people firstly through video materials such as movies, broadcasts, and dance videos from abroad, and later by inviting well-known dancers from different countries to Korean dance competitions as judges. The introduction to Locking dance in Korean society motivated some Korean dancers to invite, various Locking dancers from across the world to Korea for dance workshops, which gave those who learned Locking dance only by watching videos the opportunity to experience the “original” Locking style. Since then, Locking dance in Korea has been more developed through the steady exchanges between Korea dancers and dancers from other countries. Currently, the number of Locking classes, workshops, and events in Korea has drastically increased.

The purpose of the study is to analyze the traditional cultural values of Li-ping Yang’s Dynamic Yunnan from artistic, social and economic aspects. Based on literature review and video analysis of dance and movement and its cultural context, the aesthetic characteristics of Dynamic Yunnan were identified. First, its artistic value lies in the original form derived from the unique vitality of the traditional dance of the minority nationality. Second, it was made to regard national culture ideologically as a social value. Third, in terms of economic value, the tourism industry in the Yunnan region has grown by using the dance as a resource to create economic value through its artistic content and aesthetic forms. It reminded the public of how traditional dances can be preserved and developed by combining these traditional dances of Chinese minorities with modern stages. Furthermore, it illustrates the significance and validity of entering the market for dance art works by presenting representative examples of the development of the cultural industry.

This paper analyzes the author’s piece entitled “After Beginning and Before the End”, which explores the relationship between the creation process of Chinese characters and dance, drawing upon the Tao-te-ching of Laozi. As per Laozi’s concept of ‘Tao’, all creation changes from a simple to a complex state, with a wide variety of possibilities in the process. We intended to make the rediscovery of all creation suggested in the Tao-te-ching of Laozi into a piece of a choreography by applying the minimum unit of Chinese characters and their shapes as the principle for generating dance movement. This research proposes the method of dance composition from the perspective of the redevelopment of all creation presented in Laozi’s Tao-te-ching.

This study mainly focuses on audience development of dance festivals by applying 7Ps Marketing Mix in the Seoul Dance Festival, which is the first dance festival in Korea. The whole performances in the 39th Seoul Dance Festival(2018. 10. 22 - 12. 04) were sold out, and the festival was evaluated as one of the most successful dance festivals in its history. 7Ps Marketing Mix is the set of marketing tools consisting of Product, Price, Place, Promotion, People, Physical Evidence and Process. According to this analysis, the festival has succeeded because of its qualified programing, aggressive promotion, well-equiped venues, suitable environment, well-trained staff and reasonable ticket prices. To enhance its popularity for the dance festivals, the festival shall collaborate other dance groups which would open their shows during the festival period, manage specified SNS contents, plan the outdoor events before and after the main shows to set the festive mood, make the specialized ticket prices for the festival, manage volunteers more effectively and adopt e-ticket reservation system. This study aims to be a basic marketing resource for the future audiences development in the Korean dance festivals and the dance field.

The purpose of the study was to examine the effect of a sensory integration dance program on motor performance in children with developmental disabilities. Participants were 9 people with developmental disabilities (mean age; 11±2.0 years) by using convenient sampling. The study was designed as a single cohort pre and post-test comparative study. The dance program was performed 12 sessions (12 weeks, with a frequency of 1 times/week for 150 minutes per session). Motor performance was measured by Bruininks-Oseretasky Test of Motor Proficiency (BOT-2). Non-parametric tests, using the Wilcoxon singled-rank test for pairwise comparisons, were performed to evaluate pre- and post-intervention changes. As a result, manual coordination(p=.007), body coordination(p=.007), and total motor performance(p=.008) were significantly increased. Therefore, the sensory integrated dance art education program ‘Dancing artist’ was found to be a dance art education method that can improve the motor performance of children with developmental disabilities. These efforts are expected not only to develop a body that is a subject of sensory experience for children with developmental disabilities, but also to identify creative expression activities, artistic sensibility, achievement, free communication opportunities, and the possibility of growth as a disabled dance artist.

The study examines Sartre's existentialist philosophy and Ericsson's theory of self-identity development in order to understand and advocate the need for elementary school dance education. Movement through the body can develop self-identity. This is because physical expressions that expose the interior to the outside help to autonomy and achieving. By expanding physical abilities and improving expressiveness, a child can develop his or her own identity. Considering that children grow up amid various social influences such as school life, an appropriate dance education is needed to help elementary school students to culture a healthy self-identity. Dance education provides an aesthetic experience for children to come into contact with society, and affects not only reflexive thinking but also self-identity. A proper approach to dance education in the elementary school years, when children experience sociality after infancy, will not only achieve balanced development, but also contribute to the complete self-identity of the child.