The Development and Validation of Qualitative Value Indicators of Region-Based Community Dance for Cultural Urban Regeneration

Abstract

The purpose of this study was to develop and validate qualitative value indicators of region-based community dance for cultural urban regeneration. To this end, the conceptual structure of local-based community dance was explored and evaluation indicators were developed by deriving questions related to this. The specific research procedures and results are as follows: First, a literature review and Delphi survey were conducted to obtain factors and questions regarding qualitative value indicators. Consequently, four factors of local singularity, convergent creativity, sustainability, and community culture were obtained with 43 questions. Next, a preliminary survey targeting 122 people who have participated in representative local dance festivals (the ‘Wonju Dynamic Dancing Carnival’, ‘Cheonan World Dance Festival’, and ‘Andong Maskdance Festival’) in Korea was conducted to determine the relationship between the factors and questions. Multi-dimensional value indicators with 30 questions in four factors were obtained from an exploratory factor analysis using SPSS version 25.0. Then, the main survey, targeting 341 people who have participated in three representative local dance festivals in Korea, was conducted to verify the validity of the value indicators. Finally, evaluation indicators of 26 questions (seven questions for regional uniqueness, five questions for convergent creativity, seven questions for sustainability, and seven questions for community culture) were developed from a confirmatory factor analysis using AMOS version 24.0. Additionally, the contents evaluated by each factor are as follows: Firstly, ‘Local Singularity’ is a factor in whether the evaluation target sufficiently contains the unique characteristics of the region. Secondly, ‘Convergent Creativity’ is a factor in whether the evaluation target converges the indigenous culture (traditional culture) and acceptance culture (modern culture) of the region well. Thirdly, ‘Sustainability’ is a factor in whether the evaluation target contributes to the sustainable development of the region. Fourthly, ‘Community Culture’ is a factor in whether the evaluation target contributes to the formation of community culture in the region. This study is significant in that it emphasises the potential possibility of community dance, which can contribute to cultural urban regeneration based on the perspectives of cultural democracy. Therefore, the results of this study are expected to be extended and applied to various types of community dance in the future. Moreover, it is further forecasted that this study will suggest the meaning of the qualitative valuation of art and culture for a variety of subjects, such as policy experts and administrators, as well as for directors, choreographers, and participants in community dance.

1. Introduction

1.1. Background

‘Soft Power’ has represented the potential value of culture and proposed topics on its role in social aspects [1,2,3,4,5,6]. Recently, Simons emphasised the social cohesion of culture by referring to the case of a candlelight revolution held at the Seoul General Assembly of the World Cities Culture Forum (WCCF), which was hosted for the first time in Asia in 2016. Simons noted that “culture goes beyond economic-centred logic and becomes a driving force to enable creative communication and exchange” [7]. Thus, ‘culture’ has drawn much attention because it can lead to the realisation of community values, social integration, and personal wellness [8,9,10,11,12,13,14,15].

It remains useful to redefine the status of community dance and its role as a practical alternative in the field of dance. Researchers have, over time, presented various interpretations of the concepts and areas relevant to community dance [16,17,18]. Generally, it is a concept that should be distinguished from professional dance in that it refers to dance activities in which the public becomes the main subject [17]. It also plays a culturally important role, in that ordinary citizens can directly perform or plan dance activities, and poses a social effect in that it leads communication and allows participants to feel like members of the community. Community dance also performs a political function, in that it can be a means of expressing critical thinking about policies or institutions [19]. In other words, community dance can be a significant means of art therapy, being regenerative at the individual level as well as restorative of relationships or social integration, which is regeneration at the collective level.

Meanwhile, local dance heritage is a useful method for cultural urban regeneration [20,21,22]. A case in point is a region-based dance festival [23,24]. ‘Big Dance’, which began on the basic premise that dancing can transform cities and citizens, is held every two years in various parts of downtown London, UK [25]. It is the world’s largest dance festival, in which not only professional artists and art organisations but also citizens can participate. It has had breakthrough achievements in fostering community consciousness through dance and promoting the health of the community.

Various types of dance festivals that contribute to the creation of cultural images are being held in Korea. This study presents three relatively well-known cases and finds them to be operating stably every year. First, the ‘Wonju Dynamic Dancing Carnival’ is a public contest-type street parade event considered an exemplary example of an interactive festival. The Wonju Cultural Foundation aims to provide a venue for active civic participation and communication that reflects Wonju’s image as a military city. The festival includes a dancing carnival in which citizens decorate the runway-type stage.

Next, the Ministry of Culture, Sports and Tourism has designated the ‘Cheonan World Dance Festival’ as a regional representative performing arts festival for six years. Hosted by Cheonan City and organised by the Cheonan Cultural Foundation, the festival aims to promote local traditions by symbolically representing Cheonan’s unique culture. In 2012, the Federation of International Dance Festivals (FIDAF) was formed to provide effective globalisation strategies.

Lastly, the ‘Andong Maskdance Festival’ is Korea’s largest traditional cultural festival, leading in promoting pride as cultural citizens. The festival includes experience events, such as learning mask dances and making masks, and various exhibition events. The festival reflects the value of traditional Korean culture well, so the rate of foreign visitors is relatively high.

As such, attempts to obtain cultural identity and pursue the value of social inclusion using dance are gradually diversifying [26]. In particular, local dance festivals have demonstrated that local dance culture contributes not only to the marketing effects of tourism and related industries, but also to the creation of cultural images [19]. This study focused on this phenomenon and the possibility of connecting cultural urban regeneration.

To develop the win-win logic of cultural urban regeneration and region-based community dance, a foundation must be prepared to demonstrate its achievements. Nevertheless, most cases are still limited to quantitative indicators or fragmentary case analysis in grasping the performance of cultural urban regeneration and community dance [19,27]. It has only been discussed in the short-term or approached in a way that only measures economic performance [28]. In addition, from the perspective of cultural policy, problems related to the inadequacy of the composition of evaluation items or indicator systems and short-term evaluation centred on output have been raised [29,30,31,32,33]. Therefore, this study proposed the necessity of introducing qualitative value evaluation for cultural urban regeneration and community dance by paying attention to this phenomenon.

1.2. Research Purpose

The purpose of this study is to develop and validate the qualitative value indicators of region-based community dance for cultural urban regeneration. It was provoked by the questions “What is the role of community dance that contributes to the sustainable development of the city?” and “How should local dance festivals be operated for cultural urban regeneration?”

1.3. Operational Definitions

1.3.1. Cultural Urban Regeneration

Early urban regeneration has been promoted either economically or physically to restore declining cities [34,35], but it is gradually changing to a process that emphasises the social and cultural rehabilitation of the city. Cultural urban regeneration, which has been attempted in this context, means regenerating the city through local-based culture. Therefore, in this study, ‘Cultural Urban Regeneration’ was defined as an urban regeneration activity that considers local cultural values.

1.3.2. Community Dance

Community dance has generally referred to dance activities in which the public plays a role as the main subject. However, the scope of the present paper was limited to region-based community dance, especially focusing on its spatiality. Furthermore, we viewed local dance festivals that operate spontaneously in various cities in Korea as a form of community dance. Thus, in this study, ‘Community Dance’ was defined as a community-based local dance festival that contributes to cultural and urban regeneration.

2. Methods

2.1. Scale Development

For this study, a literature review was conducted to tentatively set the qualitative value evaluation index of region-based community dance for cultural urban regeneration. In particular, we focused on research by Kim and Park [19], who attempted to examine the role of community dance in cultural urban regeneration rooted in cultural democracy. Based on this, four factors were derived that allowed the evaluation of the qualitative value of local-based community dance for cultural urban regeneration, and each factor was operatively defined.

First of all, ‘Local Singularity’ is a factor in whether the evaluation target sufficiently contains the unique characteristics of the region. Next, ‘Convergent Creativity’ is a factor in whether the evaluation target converges the indigenous culture (traditional culture) and acceptance culture (modern culture) of the region well. Then, ‘Sustainability’ is a factor in whether the evaluation target contributes to the sustainable development of the region. Finally, ‘Community Culture’ is a factor in whether the evaluation target contributes to the formation of community culture in the region.

Prior studies on each factor were considered to provide a theoretical basis for the above. Questions for each factor were derived based on various academic grounds for local singularity [36,37,38,39,40], convergent creativity [12,21,41,42], sustainability [43,44,45,46], and community culture [47,48,49,50,51]. The initial pool included 60 items, representing four factors: local singularity (15 items), convergent creativity (15 items), sustainability (15 items), and community culture (15 items).

A Delphi survey was conducted to verify the validity of the items, and 10 Delphi panels were selected based on professionalism, representation, and appropriateness. This study utilised a 5-point Likert scale and allowed additional comments to be written in the blank spaces. Based on the analysis results of the Delphi survey, the draft items were revised more clearly and consistently, resulting in 43 items: local singularity (13 items), convergent creativity (10 items), sustainability (10 items), and community culture (10 items).

2.2. Pilot Study

2.2.1. Research Participants

To identify the factor structures of the indicators derived from the literature review and Delphi survey, a pilot survey was conducted with people who have participated in local dance festivals (‘Wonju Dynamic Dancing Carnival’, ‘Cheonan World Dance Festival’, and ‘Andong Maskdance Festival’) in Korea. A convenience sampling method was used to collect data, using a self-administered questionnaire. The data were collected through an online survey because of the COVID-19 pandemic.

The pilot test was based on the responses of 122 participants. Of the 122 respondents, 44 (36.1%) were men and 78 (63.9%) were women. The respondents’ ages were recorded using an open-ended question: 1 was in their 10s (0.8%), 85 in their 20s (69.6%), 7 in their 30s (5.6%), 6 in their 40s (4.8%), 20 in their 50s (16.3%), and 3 in their 60s (2.4%). The education level was 4 high school students and graduates (3.3%), 4 college students/graduates (3.3%), 94 university students/graduates (77.0%), 18 graduate school students/graduates (14.8%), and 2 others (1.6%). Furthermore, 19 were professionals (15.6%), 11 office/administrative workers (9.0%), 2 sales/service workers (1.6%), 2 labour workers (1.6%), 7 civil servants (5.7%), 1 housewife (10.8%), 64 students (52.5%), and 16 others (13.1%). Finally, 57 were Seoul residents (16.7%), 32 were Incheon/Gyeonggi residents (26.2%), 3 Gangwon residents (2.5%), 18 Daejeon/Chungnam/Chungbuk/Sejong residents (14.8%), 7 Daegu/Gyeongbuk residents (5.7%), 4 Busan/Ulsan/Gyeongnam residents (3.3%), and 1 was a Gwangju/Jeonbuk/Jeonnam resident (0.8%).

2.2.2. Questionnaire

The questionnaire for the pilot survey comprised two questions about the local dance festival, 13 questions on the local singularity factor, 10 questions on the convergent creativity factor, 10 questions on the sustainability factor, 10 questions on the community culture factor, and 5 questions on the demographic factor. Thus, this study asked 50 questions using a 5-point Likert scale.

2.2.3. Data Collection and Analysis

Microsoft Excel 2013 and SPSS 25.0 were employed to analyse the data, including descriptive statistics, exploratory factor analysis (EFA), and internal consistency tests. To determine the number of factors, this study analysed the scree plot and compared initial eigenvalues with random data eigenvalues found in a parallel analysis [52]. After determining the number of factors, EFA was conducted using principal component analysis with orthogonal (varimax) rotation, followed by internal consistency tests.

2.3. Main Study

2.3.1. Research Participants

The main test was conducted to validate the revised evaluation indicators through an EFA. Like the preliminary survey, people who had participated in three representative local dance festivals in Korea were selected as the population, and the study subjects were collected using the convenience sampling method. A total of 350 surveys were collected, and a total of 341 surveys were used in the final analysis, excluding nine surveys judged to be unanswered and untrue.

The main test was based on responses from 341 participants. Of the 341 respondents, 147 (43.1%) were men and 194 (56.9%) were women. The respondents’ ages were recorded using an open-ended question: 174 were in their 20s (51%), 33 in their 30s (9.7%), 41 in their 40s (12%), 79 in their 50s (23.2%), and 14 in their 60s (4.1%). In terms of education level, 46 were high school students and graduates (13.5%), 29 college students/graduates (8.5%), 208 university students/graduates (61%), 54 graduate school students/graduates (15.8%), with 4 others (1.2%). Additionally, 50 were professionals (14.7%), 37 office/administrative workers (10.9%), 17 sales/service workers (5%), 5 labour workers (1.5%), 43 civil servants (12.6%), 23 housewives (6.7%), 120 students (35.2%), and 46 others (13.5%). Finally, 161 were Seoul residents (47.2%), 91 Incheon/Gyeonggi residents (26.7%), 7 Gangwon residents (2.1%), 50 Daejeon/Chungnam/Chungbuk/Sejong residents (14.7%), 12 Daegu/Gyeongbuk/Gyeongnam residents (3.5%), 9 Busan/Ulsan/Gyeongnam residents (2.6%), 6 Gwangju/Jeonbuk/Jeonnam residents (1.8%), and 5 Jeju residents (1.5%) (

Table 1. Demographic information in the main study (N = 341).

Division		Frequency	Ratio (%)
Gender	Male	147	43.1
	Female	194	56.9
Age	20s	174	51.0
	30s	33	9.7
	40s	41	12.0
	50s	79	23.2
	60s	14	4.1
Education	High school graduates	46	13.5
	College students/graduates	29	8.5
	University students/graduates	208	61.0
	Graduate school students/graduates	54	15.8
	Others	4	1.2
Occupation	Professionals	50	14.7
	Office/administrative workers	37	10.9
	Sales/service workers	17	5.0
	Labour workers	5	1.5
	Civil servants	43	12.6
	Housewives	23	6.7
	Students	120	35.2
	Others	46	13.5
Habitation	Seoul	161	47.2
	Incheon/Gyeonggi	91	26.7
	Gangwon	7	2.1
	Daejeon/Chungnam/Chungbuk/Sejong	50	14.7
	Daegu/Gyeongbuk	12	3.5
	Busan/Ulsan/Gyeongnam	9	2.6
	Gwangju/Jeonbuk/Jeonnam	6	1.8
	Jeju	5	1.5
Total		341	100

).

2.3.2. Questionnaire

The questionnaire for the main survey comprised two questions about the local dance festival, 9 questions on the local singularity factor, 5 questions on the convergent creativity factor, 7 questions on the sustainability factor, 9 questions on the community culture factor, and 5 questions on the demographic factor. Thus, this study asked 37 questions using a 5-point Likert scale.

2.3.3. Data Collection and Analysis

A confirmatory factor analysis (CFA) was performed using AMOS 24.0. A multi-group confirmatory factor analysis was conducted to verify the gender-specific factor structure and measurement invariance. Average variation extracted (AVE) and construction reliability (CR) were calculated using Microsoft Excel 2013.

3. Results

3.1. The Development of Qualitative Value Indicators

Preliminary analysis showed that there were no outliers or missing values for any of the variables. The skewness and kurtosis values were used to evaluate the data distribution. The skewness statistics (ranging from −1.074 to 0.248) and the kurtosis statistics (ranging from −0.982 to 2.487) were close to the norm for normal distribution patterns [53,54] (

Table 2. Descriptive statistics for the measures in the pilot study (N = 122).

Item	M	SD
Local Singularity
(LS1) At the OO Local Dance Festival, you can get a glimpse of the unique history and culture of the region.	3.89	0.811
(LS2) The OO Local Dance Festival makes you feel the historical footsteps of the region.	3.78	0.940
(LS3) The OO Local Dance Festival makes you feel the historical traces of the region.	3.94	0.856
(LS4) At the OO Local Dance Festival, you can find regional characteristics well.	3.80	0.924
(LS5) The OO Local Dance Festival has symbolic images.	4.12	0.767
(LS6) The OO Local Dance Festival has rare values.	3.98	0.838
(LS7) The OO Local Dance Festival has distinct regional colours.	3.84	0.894
(LS8) The unique characteristics of the OO Local Dance Festival are felt strongly.	3.78	0.914
(LS9) The OO Local Dance Festival gives you a unique impression and appreciation.	3.89	0.821
(LS10) The OO Local Dance Festival allows you to feel various emotions.	3.84	0.843
(LS11) The OO Local Dance Festival elicits imagination.	3.65	0.944
(LS12) The OO Local Dance Festival gives new thoughts or inspiration.	3.67	0.974
(LS13) The OO Local Dance Festival offers a variety of experiences.	4.09	0.771
Convergent Creativity
(CCa1) The OO Local Dance Festival seems to preserve the original form of traditional culture.	3.84	0.765
(CCa2) The OO Local Dance Festival is thought to preserve the original form of regional culture well.	3.84	0.739
(CCa3) The OO Local Dance Festival shows a willingness to inherit the regional dance culture.	4.04	0.743
(CCa4) The OO Local Dance Festival is thought to contain the traditional life of inhabitants.	3.66	0.960
(CCa5) The OO Local Dance Festival embraces various cultures.	3.80	0.933
(CCa6) The OO Local Dance Festival pursues harmony between tradition and modern.	3.89	0.821
(CCa7) The OO Local Dance Festival aims to balance native and acceptance culture.	3.81	0.775
(CCa8) The OO Local Dance Festival is attempting to utilise creative cultural resources.	3.75	0.806
(CCa9) The OO Local Dance Festival contributes to having a creative urban identity.	3.80	0.852
(CCa10) The OO Local Dance Festival inherits tradition in a creative way.	3.83	0.757
Sustainability
(S1) The number of city visitors will increase due to the OO Local Dance Festival.	3.80	0.944
(S2) The OO Local Dance Festival will contribute to creating jobs for inhabitants.	3.68	0.964
(S3) The quality of inhabitants’ lives will be improved through the OO Local Dance Festival.	3.57	0.917
(S4) The regional economy will be revitalised through the OO Local Dance Festival.	3.86	0.826
(S5) The OO Local Dance Festival will contribute to the development of regional industries.	3.85	0.768
(S6) The urban landscape will improve due to the OO Local Dance Festival.	3.34	0.934
(S7) The OO Local Dance Festival will contribute to improving the image of the city.	4.03	0.792
(S8) The OO Local Dance Festival will contribute to improving the city’s awareness.	4.15	0.746
(S9) The OO Local Dance Festival is likely to grow into an event representing the city.	3.99	0.940
(S10) The OO Local Dance Festival will contribute to the development of regional culture.	4.11	0.763
Community Culture
(CCb1) The community’s autogenic power will be strengthened through the OO Local Dance Festival.	3.84	0.803
(CCb2) The community’s practical power will be strengthened through the OO Local Dance Festival.	3.80	0.781
(CCb3) The OO Local Dance Festival will facilitate communication within the community.	3.71	0.808
(CCb4) The OO Local Dance Festival will facilitate cooperation within the community.	3.78	0.777
(CCb5) The OO Local Dance Festival will promote interaction within the community.	3.76	0.853
(CCb6) The OO Local Dance Festival is likely to have an effect on securing cultural resources for the community.	3.90	0.817
(CCb7) The OO Local Dance Festival will enable collaboration between artists and inhabitants.	4.19	0.708
(CCb8) The OO Local Dance Festival is likely to contribute to the improvement of democratic citizenship in the community.	3.84	0.945
(CCb9) Through the OO Local Dance Festival, the interaction between the local government and the community will be active.	3.90	0.817
(CCb10) The OO Local Dance Festival is expected to increase the community’s interest in regional issues.	3.84	0.843

). From the scree test, four factors were derived in this study, accounting for 60.47% of the total variation [55].

Twelve items (LS6, LS11, and LS12/CCa1, CCa2, CCa3, CCa4, and CCa10/S1, S2, and S6/CCb7) with factor loadings of less ±0.40 were deleted [56] (

Table 3. First Factor pattern matrix in the pilot study (N = 122).

Item	Local Singularity	Convergent Creativity	Sustainability	Community Culture
LS1	0.757	0.121	0.043	0.093
LS2	0.834	0.060	0.107	0.196
LS3	0.747	−0.031	0.196	0.136
LS4	0.774	0.147	0.194	0.132
LS5	0.570	0.138	0.443	0.030
LS6	0.350	0.323	0.203	0.252
LS7	0.624	0.064	0.220	0.088
LS8	0.550	0.202	0.202	0.156
LS9	0.564	0.346	0.263	0.228
LS10	0.585	0.288	0.296	0.219
LS11	0.298	0.075	0.132	0.215
LS12	0.231	0.121	0.003	0.218
LS13	0.443	0.385	0.190	0.406
CCa1	0.452	0.121	0.223	0.143
CCa2	0.382	0.146	0.168	0.176
CCa3	0.273	0.318	0.032	0.014
CCa4	0.624	0.212	−0.028	0.164
CCa5	0.200	0.668	0.094	0.254
CCa6	−0.017	0.811	0.155	0.269
CCa7	0.366	0.617	−0.060	0.265
CCa8	0.185	0.578	0.064	0.223
CCa9	0.156	0.493	0.302	0.230
CCa10	0.208	0.344	0.194	0.299
S1	0.332	−0.045	0.306	0.480
S2	0.185	0.216	0.118	0.249
S3	0.159	0.101	0.447	0.219
S4	0.140	0.127	0.476	0.406
S5	0.338	0.157	0.568	0.367
S6	0.146	0.233	0.264	0.364
S7	0.244	0.178	0.696	0.396
S8	0.076	0.099	0.803	0.254
S9	0.257	−0.066	0.625	0.196
S10	0.258	0.152	0.612	0.428
CCb1	0.152	0.173	0.325	0.708
CCb2	0.150	0.198	0.135	0.768
CCb3	0.153	0.200	0.051	0.535
CCb4	0.073	0.280	0.259	0.679
CCb5	0.165	0.217	0.168	0.706
CCb6	0.224	0.115	0.208	0.556
CCb7	0.183	-0.029	0.285	0.385
CCb8	0.150	0.179	0.215	0.779
CCb9	0.066	0.124	0.124	0.837
CCb10	0.120	0.233	0.218	0.741

Note. LS = Local Singularity; CCa = Convergent Creativity; S = Sustainability; CCb = Community Culture. The parentheses show the renamed items after EFA. Items removed after EFA.

). Due to the use of secondary factor analysis in this result, there was no factor reduction. All items, except for item 13 of local singularity, were calculated in four factors tentatively intended by the researcher, with a total explanatory variation of 64.99%. In total, 30 items were amended by deleting item 13 of local singularity, showing a factor loading of 0.389 (

Table 4. Second Factor pattern matrix in the pilot study (N = 122).

Item	Local Singularity	Convergent Creativity	Sustainability	Community Culture
LS1 ⇒ LS1	0.828	0.130	0.036	0.145
LS2 ⇒ LS2	0.800	0.071	0.163	0.189
LS3 ⇒ LS3	0.831	0.019	0.215	0.177
LS4 ⇒ LS4	0.813	0.188	0.195	0.147
LS5 ⇒ LS5	0.647	0.173	0.379	0.021
LS7 ⇒ LS6	0.744	0.157	0.211	0.139
LS8 ⇒ LS7	0.693	0.290	0.170	0.225
LS9 ⇒ LS8	0.619	0.387	0.252	0.247
LS10 ⇒ LS9	0.620	0.285	0.262	0.225
LS13 ⇒ LS10	0.389	0.296	0.179	0.384
CCa5 ⇒ CCa1	0.245	0.672	0.136	0.299
CCa6 ⇒ CCa2	−0.037	0.801	0.210	0.253
CCa7 ⇒ CCa3	0.352	0.678	−0.029	0.242
CCa8 ⇒ CCa4	0.271	0.659	0.149	0.293
CCa9 ⇒ CCa5	0.270	0.610	0.309	0.254
S3 ⇒ S1	0.219	0.187	0.611	0.249
S4 ⇒ S2	0.082	0.116	0.653	0.363
S5 ⇒ S3	0.312	0.177	0.657	0.314
S7 ⇒ S4	0.169	0.095	0.782	0.249
S8 ⇒ S5	0.263	0.139	0.721	0.369
S9 ⇒ S6	0.401	−0.008	0.595	0.240
S10 ⇒ S7	0.313	0.187	0.649	0.419
CCb1 ⇒ CCb1	0.187	0.237	0.391	0.697
CCb2 ⇒ CCb2	0.165	0.239	0.220	0.782
CCb3 ⇒ CCb3	0.290	0.315	0.107	0.609
CCb4 ⇒ CCb4	0.162	0.297	0.269	0.715
CCb5 ⇒ CCb5	0.203	0.239	0.231	0.723
CCb6 ⇒ CCb6	0.277	0.163	0.316	0.575
CCb8 ⇒ CCb7	0.154	0.139	0.245	0.779
CCb9 ⇒ CCb8	0.109	0.151	0.185	0.851
CCb10 ⇒ CCb9	0.101	0.201	0.279	0.746

Note. LS = Local Singularity; CCa = Convergent Creativity; S = Sustainability; CCb = Community Culture. The parentheses show the renamed items after EFA. Items removed after EFA.

).

3.2. The Validation of Qualitative Value Indicators

The CFA analysis model of the four factors and 30 items determined through EFA did not meet the goodness-of-fit criteria, other than the root mean square error of approximation (RMSEA) value, as shown in the upper part of

Table 5. Goodness of fit test for confirmatory factor analysis (CFA).

	${\mathit{X}}^2\left(\mathit{d}\mathit{f}\right), \mathit{p}$	Q	CFI	TLI	RMSEA
4 Factors 30 Items	1258.881(399), $p<0.001$	3.155	0.896	0.887	0.080
4 Factors 26 Items	784.572(293), $p<0.001$	2.678	0.930	0.922	0.070

. Thus, an analysis process was repeated to delete an item at a time based on the factor coefficient. Finally, four items (LS8 and LS9/CCb6 and CCb7) were deleted to conduct the CFA, and the results of conformity verification in 26 items, which were four factors, are shown in the lower part of Table 5. Except for the $X^2$ figures, the comparative fit index (CFI) (0.930), Tucker–Lewis Index (TLI) (0.922), and RMSEA (0.070) figures all met the criteria. In addition, because of the convergent validation, the t-value, which reviewed factor loadings and standard errors, was statistically significant in all items, and the AVE and CR values also met the criteria (

Table 6. Convergent validity test.

Factor	Item	Factor Loading	Measurement Error	$C.R.{ }^a$	AVE	$C.R.{ }^b$
Local Singularity	LS1	0.854	0.200	10.712	0.716	0.946
	LS2	0.845	0.234	10.879
	LS3	0.850	0.221	10.801
	LS4	0.857	0.210	10.659
	LS5	0.767	0.270	11.817
	LS6	0.793	0.293	11.583
	LS7	0.702	0.401	12.208
Convergent Creativity	CCa1	0.725	0.330	11.350	0.677	0.913
	CCa2	0.755	0.302	11.018
	CCa3	0.763	0.246	10.916
	CCa4	0.784	0.245	10.599
	CCa5	0.785	0.265	10.590
Sustainability	S1	0.731	0.377	12.075	0.728	0.949
	S2	0.805	0.233	11.492
	S3	0.836	0.203	11.079
	S4	0.833	0.197	11.128
	S5	0.807	0.194	11.465
	S6	0.762	0.312	11.875
	S7	0.840	0.174	11.010
Community Culture	CCb1	0.826	0.190	11.388	0.768	0.959
	CCb2	0.834	0.174	11.288
	CCb3	0.793	0.248	11.742
	CCb4	0.853	0.162	10.989
	CCb5	0.820	0.203	11.467
	CCb6	0.830	0.184	11.339
	CCb7	0.786	0.263	11.805

$\mathrm{a}$: Critical Ratio, $\mathrm{b}$: Construct Reliability.

).

Finally, in this study, the discriminant validity of sustainability and community culture—the most correlated factors among latent variables—was verified. Analysis 1 showed that the AVE value of sustainability was 0.728—greater than 0.697, the square of 0.835 coefficient of correlation with community culture. The AVE value of the community culture was 0.768—also greater than 0.697, the square of 0.835 coefficient of correlation with sustainability. Subsequently, Analysis 2 showed that the value of the unconstrained model was 784.572, 293, and the values of the constrained model were 902.158 and 294. Therefore, the difference in $X^2$ values between the unconstrained and constrained models was 117.586, and this figure exceeded the rejection threshold of 3.84 for $a$ = 0.05, when the variance in $df$ was 1. These results confirmed that the discriminant validity was verified (

Table 7. Discriminant validity test.

Test 1	Variable	AVE	Comparison	${\varnothing }^2$
$\mathrm{AVE}>{\varnothing }^2$	Sustainability	0.728	$>$	${\left(0.835\right)}^2=0.697$
	Community Culture	0.768	$>$	${\left(0.835\right)}^2=0.697$
Test 2	Model	${\mathit{X}}^{\mathbf{2}}$	$\mathit{d}\mathit{f}$	$∆{\mathit{X}}^{\mathbf{2}}$
Chi-square difference test	784.572	784.572	293	$117.586>3.84$
	902.158	902.158	294

).

4. Discussions

Up to the time of publication, the effects of culture have been calculated mainly by measuring the performance of economic aspects. Existing evaluation methods limited to ‘hardware’ such as cultural properties and buildings, or ‘economic effects’ of laws, policies, and finances, make it difficult to reveal the qualitative value or potential of culture. Accordingly, in recent years, a value-based approach from a holistic perspective has been highlighted [57,58]. On the other hand, as the role of culture in creative cities with sustainability has been established, discussions on the possibility of using community dance persist [16,17,19]. Community dance is considered a social and cultural product that proves the development of mankind based on community and the history of dance [16]. In addition, in the policy context, it also contributes to social integration and community restoration [19]. The present study proposed the necessity of evaluating the qualitative value of region-based community dance that contributes to cultural urban regeneration and community dance by paying attention to the contemporary socio-cultural phenomena surrounding cultural urban regeneration. To this end, the development and validation of related indicators were conducted, and the following points of discussion form a critical component of this valuable scholarly discussion.

First, among the developed indicators, local singularity is a factor that determines whether the subject of evaluation contains the unique characteristics of the region, and comprises seven items. In this study, as many researchers have argued [36,37,38,39,40], the intent was to establish that local culture can strengthen a city’s identity. To secure local singularity, attempts are made to symbolise traditional culture or to discover a creative identity, suggesting that it is important to understand the intrinsic value of local cultural resources rather than just economic ripple effects. Therefore, it is necessary to actively reflect the know-how of cultural urban regeneration and community dance experts based in the region and introduce the art form to meet the characteristics of the region. The public purpose of culture, including the life of the local community, as well as regional uniqueness based on historical and cultural characteristics, should be directed.

Second, convergent creativity is a factor that determines whether the subject of evaluation converges well with the traditional and contemporary cultures of the region; it comprises five items. In this study, based on the views of researchers [12,21,41,42], the intent was to identify the value of creativity that contributes to sustainable cultural urban regeneration. To this end, a method of convergent creation that adds creative elements to local singularity was proposed. Additionally, as a way to achieve convergent creativity in urban or community aspects, we presented a method of understanding cultural diversity based on cultural democracy and creative succession that harmoniously adds modern elements to indigenous cultures. Convergent creation must be carried out in order to practice community dance, through which the region and the community maintain a symbiotic relationship. Therefore, instead of giving excessive weight to one element with divergence and convergence as the extremes, a convergent creation method that selects appropriate cultural products and derives the best direction can prove more appropriate.

Next, sustainability is a factor that determines whether the subject of evaluation contributes to the sustainable development of the region, and it comprises seven items. Today, the importance of sustainability, which encompasses the meaning of environmental, social, and cultural maintenance, is gradually increasing. Accordingly, this study, along with work by several researchers [43,44,45,46], presented the necessity of preparing strategies for improving the sustainability of cities and communities. In other words, our work emphasised the need to break away from existing one-time or short-term cultural urban regeneration projects and community dance programs that have been customary so far, and to seek sustainable strategies. It is necessary to find a balance point to evenly accept the local, self-sustaining culture along with a strategic perspective to enhance the urban brand image. Thus, to achieve the sustainable development of region-based community dance for cultural urban regeneration, the competency development of related experts and the cultural competency education of the local citizens must be simultaneously conducted.

Finally, community culture is a factor that determines whether the subject of evaluation contributes to the formation of community culture in the region, and it comprises seven items. For the present study, the intent behind reflecting the views of researchers [47,48,49,50,51], was to suggest that long-term community culture development should take place. For the development of community culture, a plan to establish a consultative body that strengthens the bond among local people should be sought as a substructure that helps all citizens voluntarily participate beyond the professional–amateur barrier. Therefore, efforts are required to seek the function of dance as a creative community that embodies civic creativity. To ensure the voluntary participation of citizens, the appropriate planning of community dance without barriers to entry should be explored and a mutually beneficial network based on self-sustaining culture should be established.

5. Conclusions

The purpose of this study was to develop and validate qualitative value indicators of region-based community dance for cultural urban regeneration. The study conclusions include the following: First, as indicators of the qualitative value of local-based community dance, four factors were derived: local singularity, convergent creativity, sustainability, and community culture. Through these results, it was confirmed that, for the development of sustainable community dance, creative succession methods and voluntary and active civic participation practices should be encouraged to harmonise modern elements with indigenous cultures and local identities. Next, the validity and reliability of the evaluation indicators developed through CFA and concurrent validation were obtained, which we predict will provide useful data for the formation of discourse on the qualitative valuation of community dance.

Academic suggestions based on the above conclusions are as follows: First, in this study a survey was conducted only for those who have participated in local dance festivals in Korea. In particular, the research subjects were limited to those who had participated in the ‘Wonju Dynamic Dancing Carnival’, ‘Cheonan World Dance Festival’, and ‘Andong Maskdance Festival’, which are representative local dance festivals in Korea. If the range of future research participants is expanded to verify evaluation indicators for those who have participated in world-renowned local dance festivals, meaningful research results can be derived that, in turn, could be applied in a universal context. Second, due to the pandemic taking place during the span of this study, the hosting of a dance festival in Korea was temporarily suspended, making it impossible for any researcher to visit the site of a local dance festival or meet directly with the research subjects. In the future, it is expected that errors in research results can be minimised if we visit the venue of a local dance festival in person to engage with numerous people and select research participants through simple random sampling. Finally, in this study, the external validity of the evaluation index was not verified. If this is carried out in a follow-up study, it will contribute to the establishment of a more systematic and solid theoretical foundation.