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Dance is the artistic experience based on the physical activities through sensory awareness. Dance education valued as a practical studies that contributes for human development process. Dance education on the main contents of this paper is : first, to explain the value of dance education in the respect of integrating multiple fields of human abilities and creativity development. Second, to understand main contents of dance education research related with arts education, physical education and social education. This paper discussed functional and expressive aspects on the body and dance education in terms of personal development related with socialization. Finally, Through these study, this paper emphasizes that multidisciplinary studies of dance education can be applied in a various ways to education field.

The purpose of this study was to confirm the practicability of wellness programs for adults using artistic sense. The program was organized through literature and analysis of existing programs, expert meetings and case study. The case was attended by two person who took part in the ‘dance science study’ class at K University and received feedback through their survey responses and journals. As a result, the wellness program using artistic sense was a program that could be useful in strengthening the body and psychology of adults, and its practical aspects were identified. Based on the results, a follow-up study on the development of wellness programs using artistic sense was proposed.

This study aimed to research the present condition of humanistic approach in dance education. It researched cases of approach to dance based on humanities. By examining various cases of humanities encountering and communicating with art in society, humanistic thoughts and approaches in dance education could be identified while clarifying current status of dance humanities. The viewpoint through which revitalization of humanities study should be looked was analyzed even though systematic approach on dance humanities is still at its beginning stage.

This study regarded prestigious schools as one of the main actors in changing the status of dance in Korean society and examined their social significance. Extensive literature review of the study revealed that Korea's prestigious schools have taken the lead in ballet, which was considered a special activity of elite students. Moreover, dance education, which had been a part of bridal education for young women in the past Korean society, has gradually been transformed into professional art education with efforts of dance department in the prestigious women's universities to improve the quality of dance. Given that prestigious schools have led the ideal of dance education, the idea of taste culture theory that elite group has affinity with high culture is applicable to Korean art.

Street fashion is an embodied and mediated social practice that, like dance, the primary medium of the exchange of information is the body. At Seoul Fashion Week, street fashion has become a performance of sartorial acts of gender transgression. And when interpreted through Elaine Aston’s notion of feminist theater practice that utilizlizs the Brechtian dramatic tool of Verfremdung (“alienation”) to help the audience form a critical view of a social practice. According to Aston, there are three main forms of embodied, performed “display” in which feminist theater engages as a way of social critique: Over-Display, Under-Display, and Cross-gendered Display. This paper posits an additional one, called Code-Smashing Display, that is part and parcel of a unique form of Astonian, feminist theater practice that occurs within Korean street fashion as it is constructed as cultural text. Code-Smashing Display is the very currency of the socially conscious Verfremdung in which many frequently paepi engage and which seems to help define style within Korean street fashion as a transgressive social practice unto itself.

This paper aims to address contentious issues on the museal world’s recent appropriation of dance by focusing on the 2016 exhibition MMCAⅹ KNCDC Performance: Unforeseen at National Museum of Modern and Contemporary Art, Seoul in collaboration with Korea National Contemporary Dance Company. This exhibition, which brings a series of dance and performance into the museum space, intends to go beyond the boundary between visual art and dance and engender audiences’ encounter with unexpected events. In the first part, I survey recent critical dance discourses on museum’s renewed interest in dance regarding its political, economic, and aesthetic aspects. The second part scrutinises the exhibition Unforeseen in terms of its curatorial ways of exhibiting dance and the cogency of dance’s relocation.