2024, Vol.94, No.1

The Korean Journal of Dance Studies 2023 KCI Impact Factor : 0.93

pISSN : 1226-900X / eISSN : 2713-9468
https://journal.kci.go.kr/krsds

The objectives of this study was to suggest the desirable elementary dance curriculum revision in thefuture. For this, this study critically reviewed the contents of expression areas of the 2022 revisedelementary physical education curriculum, focusing on literature research. The results are as follows:First, excessive emphasis on aesthetics can create a false perception of dance. Second, it is inappropriate to categorize sports expressions into the 5th and 6th grade expression areas. Third, creative expression is reduced, and indiscriminate physical activity examples and inaccurateterms were used. Fourth, the use of the inappropriate term, ‘skill’ should be avoided.

This study aims to identify factors influencing omnivorous cultural consumption by exploringmotivaton for cultural and artistic enjoyment. It seeks to elucidate the impact on the dance performancevisiting intention through the mediating role of omnivorous cultural consumption, with a focus on themoderated mediating effect of dance performance viewing experience. Motivations is categorized intocognitive, emotional, and social aspects. Analysis of a survey with 303 participants found emotionalmotivations as the top factor for cultural enjoyment, significantly affecting omnivorous culturalconsumption. Emotional motivations particularly explained omnivorous cultural consumption, withsocial motivations having the least impact. Cognitive and emotional motivation directly affectedintentions to visit dance performances. The mediating effect of omnivorous cultural consumption and themoderated mediating effect of dance performance viewing experience were found as significant for allmotivational factors. These findings highlight how varied cultural experiences shape intentions to attenddance performances.

The purpose of this study is to analyse the attitudes and characteristics of dance audiences whowatched online performances during the coronavirus pandemic in 2020, and to suggest alternatives toexpand online dance audiences. Through 11 interviewers, it was found that audiences behave in onlineperformances according to the experiences they have accumulated within the traditional theatre system. Based on the results of an interview survey, alternative ways to expand the online dance audiences inthe future can be discussed as follows. First, it provides a mobile versions of various video lengths thatcan be viewed multiple times. Second, it establishes a professional online dance theatre with a digitalsystem that can produce a variety of spatial performances. Third, it considers creative internet platformarrangements for online dance audiences. Fourth, it actively utilizes the chat function of online streamingperformances. Fifth, the operations should be arranged considering the convenience of audience. Sixth,intermission operations should be considered for online performances.