Earticle

While conducting research on dance education programs for elementary school students, answers to fundamental questions for the composition of the curriculum were found. How does dance help children grow and develop? How should the content of the class be structured to use numerous types of dances as educational resources? What preparations should teachers make to predict and control what will happen in the educational field? Dance education helps you discover yourself in the process of constructing time and space through various sensory experiences through body movements. Dance leads to physical function, emotional expression, experiential understanding of objects, and communication with others in the process of emerging the aesthetic value of art through human direct experience. As a dance education activity that connects the ways of thinking, feeling, and acting, the genre integrated curriculum uses various genres of dance language. And based on this, new exploration continues through creative composition activities. As we connect and match each other's movements, the sense of community that transcends individuals expands. This is to realize the multifaceted development of human intelligence, the development of creative thinking and behavioral abilities, emotion and perception education, value exploration, social-cultural education, health promotion, integrated curriculum learning, and aptitude development, which are the values of art education in the modern sense. First, the value of dance education is summarized in the text. Second, based on the understanding of the educational object, the educational goal of education, the educational content that connects learning, creating, and appreciating various dance languages from an integrated perspective, and the educational method from educational practice to teacher's learning preparation and evaluation are presented. This research is used as a guide for 'dance education' to clarify the educational value of dance that experiences the world through physical activity and to utilize the abundant resources of dance educationally. It will help young teachers with insufficient experience prepare practical educational sites, and it will provide teachers with extensive field experience with the basis for reviewing their experiential curriculum and trying new things.

This study developed an experiential cultural diversity education program using generative AI for 86 industrial complex workers across six sites in South Korea. The ‘AI Filmmaking’ workshop employed ‘Collaborative Directing,’ where participants directed creative decisions, AI generated content, and facilitators provided technical support. Following Kolb’s experiential learning cycle, the program comprised seven stages: lecture, storyboard creation, image generation, motion/voice addition, music generation, editing, and sharing. Post-program surveys showed 79.0% understood cultural diversity comprehensively, 91.9% recognized organizational necessity, 94.2% overall satisfaction, and 96.5% recommendation willingness. Qualitative analysis revealed enhanced self-efficacy particularly among middle-aged participants, embodied diversity experience through collaboration, expanded understanding via human-AI interaction, and critical awareness of AI’s cultural biases. This study contributes by applying end-user computing to cultural diversity education, developing ‘Collaborative Directing’ as an AI-era pedagogical model, and providing an arts management framework linking diversity, technology, and organizational innovation.

본 논문은 문화적 소프트 파워의 매개체로서 베트남 춤의 역사적 진화와 현대적 의미를 탐구한 것이다. 예술사, 문화연구, 사회학을 결합한 학제적 접근을 통해 베트남 춤이 전통 민속, 종교, 궁중 공연에서 오늘날의 전문화되고 기술이 접목된 형태로 전환되는 과정을 추적한다. 또 본 연구는 외국 전문가들에 의한 발레 기법 도입, 발레의 '베트남화'라는 창조적 과정, 디지털 혁신을 통합한 현대 무용의 최근 출현과 같은 중대한 전환점을 조명한다. 특히 한국과의 잠재적 협력에 중점을 두고 국제 협력의 가능성을 타진한다. 베트남 춤에서 전통과 현대성이 어떻게 교차하는지 명확히 함으로써, 유산을 보존하면서도 글로벌 영향력을 확대하기 위한 전략적 방향을 제안한다.

This paper explores the historical evolution and contemporary relevance of Vietnamese dance as a vehicle of cultural soft power. Through an interdisciplinary lens that combines art history, cultural studies, and sociology, it traces the transition of Vietnamese dance from traditional folk, religious, and court practices to the professionalized and technology-enhanced forms of today. The analysis highlights pivotal moments such as the introduction of ballet techniques by foreign experts, the creative process of "Vietnamizing" ballet, and the recent emergence of contemporary dance that integrates digital innovation. The study further identifies promising avenues for international collaboration, with special emphasis on potential partnerships with South Korea. By clarifying how tradition and modernity intersect in Vietnamese dance, the paper proposes strategic directions for safeguarding heritage while expanding its global influence.

This study examines the concept of re-enactment in exhibited dance through an analysis of Boris Charmatz’s Manifesto for a National Choreographic Centre. While traditional approaches to re-enactment have emphasized the restoration of an original work, such a model proves insufficient when dance enters the museum context. Drawing on Georges Didi-Huberman’s theories of anachronistic temporality and the surviving image, this study reconceptualizes re-enactment as a process in which gestures return, persist, and transform across multiple temporal layers. Through a close reading of Charmatz’s manifesto, the research demonstrates how the notion of the “dancing museum” challenges fixed ideas of authenticity and reconfigures the museum as a site where gestures actively generate new temporal relations. Ultimately, the study argues that re-enactment in the museum should be understood not as the repetition of the past, but as a critical practice that reopens the conditions through which dance persists and its histories are continuously rearticulated.

This study examines the designation context and institutional logic of dance genres listed as the Intangible Cultural Heritage of the Five Northern Provinces, focusing on the Pyeongnam Sugon Dance and the Hambuk Seonnyeo Dance. The analysis reveals that these dances were shaped by multi-layered processes stemming from national division, migration, and cultural exchange, rather than by fixed regional traditions. However, official documentation tends to simplify these processes into linear genealogies by emphasizing regionality within a rigid institutional framework. Consequently, this study proposes that the system should operate in a way that acknowledges the living and dynamic formation of dances, rather than rigidly standardizing them.

This study compared the risk of Relative Energy Deficiency in Dance (RED-D) between male dance majors (n=22) and non-majors (n=22) in Korea using the Dance-specific Energy Availability Questionnaire (DEAQ). Addressing the current female-centered RED-D literature, the study aimed to identify low energy availability in male dancers and examine the relative influence of dance training. After accounting for age, BMI, and training hours, dance majors showed significantly lower DEAQ scores (M = 0.55, SD = 4.14) than non-majors (M = 5.91, SD = 2.64), t(42) = –5.129, p < .001, indicating greater RED-D risk. Risk or high-risk prevalence reached 36.36% in majors compared to 0% in non-majors. Dance majors also reported more injury-related rest days, higher smoking rates, specific dietary restrictions, and greater emphasis on weight control, while endocrine markers and eating-disorder history were similar across groups. These findings suggest that aesthetic pressures in dance may intensify energy imbalance among men, underscoring the need for male-specific RED-D interventions.