This study analyzed traditional dance scenes in historical dramas and related internet articles in order to understand their contents and characteristics, assuming that contemporary media discourse has contributed to the production of traditional dance images. The subjects of the study are the traditional dance scenes from eight historical TV dramas, which were broadcasted in 2016: , , , , , , , and related articles posted on the news category of the portal website Naver. The study showed that the image of a traditional dance appearing in the traditional dance scenes was portrayed as a beautiful, mysterious, or powerful means of tempting viewers. Most of young, female main actors played the dancers, and the close-up shots focused on the performers' faces. The types of traditional dances exposed to the dramas and the appearance of their movements were not appropriate for the historical conditions, such as the background of the dramas or the status of the characters. In addition, the fact that the gender and status of the performers were confined to female dancers or female shamans could not go beyond the historical fact at all. In the content analysis of the internet articles, it was found that the names of traditional dances were not based on professional knowledge. It was also found that, when describing traditional dances and performers, similar expressions were used despite the different types of dances and narrative situations in each scene. This is related to the fact that the contents of the internet articles were provided by the agency of the female entertainers who played the actors and filtered through the portal site, rather than reflecting the intention of the drama's producer or entertainment media reporters. In other words, the internet articles promoting the traditional dance scenes were written as a means to increase the popularity of entertainers. Therefore, it should be noted that this bears many problems when propagated to the public as a traditional dance discourse. This study is significant, revealing the image of “dance”, “dancer”, and “dancing woman” in and out of the dance system by revealing the image of traditional dance produced by contemporary media and media discourse. Finally, it is hoped that this study can contribute to generalizing the images related to dance and preventing the excessive prejudice over dance.

Dancing elements shown in Namsadang Nori organizationally and technologically intervene dramatically expressed performances. The effect of dancing elements is to insert dancing elements appropriate for performance elements, to extend artistic expressive areas, to add the beauty of composition and of form to performances, and to enhance the artistic completeness of performances. In addition, dancing elements combined with arts include aesthetic values to express the vitality and personality of performances and highlight performance characteristics artistically beyond technical skills. For these reasons, dancing elements in Namsadang Nori as a cultural prototype embed considerable significances. The expressive meaning of dance and the extended artistic area speak to the present audience. They also serve as a performance content that diversifies dancing elements.

The purpose of this study is to suggest a way to reconcile two conflicting concepts: the system of intangible cultural assets and creative succession of traditional dances. Among the terms for intangible cultural assets in Korea, ‘prototype’ was changed into ‘typifier’ because of the legal revision in 2016. In addition, the term, ‘human cultural assets’, which has been actually used was enacted. Typifier is an advanced concept which makes a bridge between intangible cultural assets and artistic notion, while human cultural assets are also a concept that acknowledges an indissolubility between dance and human being. In order to encourage creative succession, while maintaining and preserving the artistic view on intangible cultural assets, this study proposes the following suggestions. First, we should actively find and appreciate holders of human cultural asset in their 40s-50s. It would help activating the dances and forming an independent job field. Second, we should acknowledge more than two people as human cultural assets for an item, accepting various and creative successions. It leads to restraints power monopoly and to promote competition among them. Last, succession fees should be unified by the Cultural Heritage Administration for securing transparency and fairness of accounts. These would contribute to creative successions of Korean traditional dances in the system of intangible cultural assets.

In this study, I examined how the succession and modernization of tradition has been emphasized through the articles related to dance in North Korea’s comprehensive art magazine Joseon Art focusing on its traditionality and modernity. The research method was centered on literature analysis and image analysis. In the literature, from the first issue of 1956 to the first of June 2000, 344 out of 468 articles were reviewed and analyzed. The analysis revealed that the majority of articles has focused on the discussion on the issue of inheriting and developing the people's dance heritage among the anti - revolutionary dance heritage and ethnic classical dance heritage. Based on socialist realism as a principle in succession and development, discourses in the articles have emphasized revolution in contents and have tried to create dance based on national characteristics in terms of form. I can see that the articles have strived to present the dance as a means of educating people’s ideology. The contents discussed in the Joseon Art from the 1950s to the 1970s were found to be further developed in the later period. North Korea has developed dance that promote the superiority of the Korean people based on Juche ideology. It was found that the principles related to dance decided before the 1980’s have continued in the “invariant law”.

The purpose of this article is to explain the characteristics of mind-heart and acknowledgement, emphasized in the practice of traditional korea dance, based on the theory of Wang Yangmyung's psychology. We examine the mind-heart, acknowledgement, and the art theory in 󰡔JJeonseubrok(the tradition records)󰡕along with the words emphasized by the masters of the traditional dance, and express them with a language that can be publicized. According to Wang Yangmyung's theory of psychology, we can say that what good mind stands for in "Good dance comes from good mind" is the state where the rightness is embodied in mind and that 'good dance' means the state where 'non-embodiment' of movement and 'non-embodiment' of emotion is realized. In particular, we must always pursue 'sincerity' in the domain of mind-heart, which we know alone. Through these languages, the internal and external value and meaning of Korean traditional dance can be revealed. There is a saying that "effective practice precedes theories of it." Effective practice of traditional dance has existed for a long time. However, the theory of its practice is not sufficient. This article attempts to theoretically explain the effective practice that has always been with us since a long time ago. This article has its significance in that it tries for the first time to theoretically explain the thesis of traditional dance, "Good dance comes from good mind" by using the mind-heart and the acknowledgement of dancer which was emphasized by traditional dancing masters. In particular, it is meaningful that it approached the theory of mind and acknowledgement theory of traditional dance based on the study of Wang Yangmyung.

Dutbeki is a local dance which has been transmitted by customs in Kyongsang area since ancient times. This is a formless dance that each of the villagers enjoyed with their own colors at seasonal farming events in the past. Today, however, Dutbeki is disappearing with a rapidly changing social environment. In this situation, the researcher is going to study the origin and present condition of Dutbeki, local dance of Ulsan area, to protect and transmit it to the future. The method is as follows. Regarding the origin of Ulsan Dutbeki, the researcher reviewed the records of life from the past in Ulsan area. As for the current status of transmission, the current status of the natural handover of Dutbeki in Ulsan area and the current status of it with the participation of the researcher, a native of Ulsan, are discussed. The folklorist Jung Sangbark has established Dutbeki, which had been called as a generic name, as a local intangible culture by attaching a local name to it. As a result, Dutbeki in Ulsan area was designated as Ulsan Dutbeki and the value as an intangible cultural heritage was obtained. In this context, this study has made an accomplishment of confirming the identity of the intangible cultural heritage in Ulsan by establishing the origin of Ulsan Dutbeki and examining the current status of its inheritance.

In this study, I apply the LMA(Laban Movement Analysis) system to analyze the movement of Taekyun. In this context, I think that if I can analyze the movement of Taekyun which is representative of Korean martial arts by the LMA, It will be a new opportunity to shed light on traditional martial arts from an artistic point of view. I especially focuse on the dancing elements of Taekyun. It is thought that the action of the Taekyun movement ​​resembles curve, because it avoids the fatal blow on the opponents. Taekyun is embodied a unified gesture through the tempo of strength and weakness, with softness in its movement. I explore the physical aspects(Body), qualitative aspect(Effort), shape of movements aspect(Shape), and spatial aspect(Space) of LMA in order to illuminate the aesthetic elements of Taekyun. As a result of the analysis, the dancing elements of Taekyun are found as follows. First, in the body part, I find a common feature that is connected naturally by Breath Support and Core Support. Respiration strengthens the meaning of each action in the three movements(pumbalbgi, hwalgaesji, neunjileugi). Second, in terms of quality(Effort), I find the properties of Strong Weight and Quick Time. A common feature of the Effort is the rhythm state. It can explains the reason why Taekyun is similar to dancing movement. Third, the spatial aspect can be seen as a Directional Shape, but it can not be completed unless Shape Flow is emphasized. Fourth, in the aspect of the Shape, it can be seen that there is a Central Tension when you raise his leg to defend himself or when he turn his arm to defend from his opponent's attack. I hope that this study help the LMA to be applied to the various fields in order to the value of movements.

This study focused on the fact that both dance and calligraphy have a common formal concept with harmony, balance, and rhythmical beauty as the long-standing traditional forms of art in the Eastern world. First, the study examined the relationship between dance and calligraphy by looking at old literature and successfully identified the common ‘formal concept of beauty’ they shared. During the process of understanding calligraphy, the study noticed that the emotions which occurred while moving the brush were not much different from the emotions that arose when the dancer moved their body to express a certain movement. It was found that the contents and the emotions that occurred during the creation phase of dancing and calligraphy were almost identical. Instead, the sole difference was that calligraphy used the movement of the brush, while dancing utilized the movement of the body and the eyes. This suggested that dance and calligraphy shared the concept of beauty of ‘form, harmony, and control.’ With this result, the study suggested that the art of calligraphy and dancing had a possibility to be performed together in various ways under harmony by creating an environment that allowed artistic cooperation.

Recently the copyright issue in the traditional cultural field is being discussed due to the copyright claim on traditional dance. The copyright norms is unfamiliar to those who are engaged in traditional cultural fields in Korea. Despite this unfamiliarity, the number of cases in which copyright law is applied to the field of traditional culture is increasing. The copyright cases that have occurred in the field of literary works such as books in the past are now spreading to art, music, and dance. In this article, I have discussed some issues in judging the creativity and substantial similarity of cultural heritage-based works through representative cases of art works and musical works related to intangible cultural heritage. The copyright system is based on the assumption that a specific author has exclusive copyright for the work. On the other hand, many cultural heritages presuppose that ‘communities or groups’ have created, maintained and propagated them, and it is not easy to identify copyright holders because their boundaries are ambiguous. In addition, in order to establish an exclusive right such as copyright, a clear boundary must be set for the work, which is an object of rights, but the boundary of the traditional culture that has continuously changed from the past is not clear. Therefore, I suggest the open source model as an alternative to exclusive copyright.

This study focused on the transformation process in which the traditional dance of Korea created new content and forms and wrote modern cultural discourses after the appearance of a modern theater. The construction of a theater established a modern value system including the perceptions of time and space, formation of a consumption structure, and emergence of the audience in a horizontal order. These changes happened around theaters such as the Mudong Banquet Hall, Hyeoryulsa, Gwangmudae and Danseongsa in Korea, and these spaces attracted the attention of the public through the changes of their microscopic repertoires mostly based on the traditional arts. They held values as they provided the public with aesthetic objects to be enjoyed and created a new cultural tradition through the gradual transformation of the culture. The traditional performance arts communicated with the public and moved forward by making an adjustment into stage performance arts in the middle of microscopic transformations that included the star system based on two Gisaengs of Gwangmudae, Ok-yeop and San-ok, a series story in a newspaper called "Yedanilbaekin," and long-term performance of Gangseonru.