This study begins with the question of what dances were performed in the Sa-ak during the Joseon Dynasty. The Sa-ak (賜樂) consisted of a director, musicians, female entertainers, boy dancers, and a Cheoyong masked dance group. The research objective is Jeongsanggonhoenangilok, which was written to celebrate Hoebang (回榜)’s 60th anniversary of passing the state examination by Jeong Won-yong(1783- 1873). The Joseon wangjo sillok (朝鮮王朝實錄) and Akhakgwebeom (樂學軌範) were also sources of background material, consisting of official records and literary works, that were subject to review. In terms of the rites of the Hoebang, on January 1, 1862, the king gave orders. In addition to feasting by the royal family, the government allowed citizens to also participate in festivals, many of which were held over the course of two months. Relative to the Sa-ak, the king established the first degree of Sa-ak, which consisted of a total of 52 people: 1 director, 36 musicians, 10 boy dancers, and 5 Cheoyong masked dancers. They performed for two months. In terms of the performances, the repertoires of the boy dancers were not recorded and remain unknown. While it was performed leisurely, it gave a feeling of flourishing and colorful. The female entertainers performed seven kinds of dances along with the Jangagwon orchestra: Cheoyong masked dance, sword dance, drum dance, pogulak (dancing ball into hole), seonyulak (dancing to play on the ship), and hyangbal heonseondo (dancing to give a long life peach). These repertoires were the most popular forms of jeongjae (呈才) in the late Joseon court. The Sa-ak was performed as part of a private feast. “Sa-ak” is an important keyword for understanding the culture of Korean dancing, because it spreads as “Sa-ak” in private space, and has the character of cultural circulation in which the enjoyment of royal court dance extends to individuals.

Byung-Choen Park’s Jindo Drum Dance is a masterpiece that strikes a balance between traditional Korean music and dance. As one of the most representative traditional dances, this dance has been loved and performed by many people for a long time. This study focuses on discovering the unique qualities of Byung-Choen Park’s Jindo Drum Dance by examining its movements through Laban Movement Analysis. Along with this analysis, this study also explores the special concepts and philosophical meanings embodied in the movements of the dance. As a Certified Laban Movement Analyst, the author analyzed the movements based on the dance film shown at Jin-do on November 7, 2008. The movement qualities of the Jindo Drum Dance are as follows. First, the dance employs both regular beats and irregular up-beats that cause disorder within order. Second, the limited torso movement while holding a drum enhances simultaneous and, consequently, harmonized arm and leg movements. Third, diverse arm and leg gestures draw curved and straight spatial designs by using peripheral and transverse spatial pathways. Fourth, in most performances, the dancer faces the front and right and left forward side directions based on the proscenium stage. Also, the diverse spatial directions of all body parts within a personal kinesphere create three-dimensional volumes with mixed diagonal lines within a cube. Fifth, the inner impulse of the movements demonstrates an Effort phrase, such as Action Drive, then Bound and Free Flow and Passion Drive, versus Remote or Mobile State. These Effort phrases reveal a unique Korean dance aesthetic, which consists of a harmonizing of Jeong Jung Dong-stability and mobility, as well as calm and active. Sixth, these five special qualities rely on a structure that includes principles of repetition. Repetitive movement qualities help audiences appreciate and evoke the unique Korean sentiment, Shin-myung. All of these movement qualities are well orchestrated in between two opposing poles, such as harmony and chaos, regular and irregular, soft and stiff, strong and weak, curved and straight, and feminine and masculine, which eventually imply the special Korean cultural concept of Jeong Jung Dong and Dong Jung Jeong, which is based on Yin-Yang philosophy.

This study is an analysis of dance critics' way of writing to make the general public appropriate images. Thus, this study aims to identify the images in writings inferred by readers; this study investigates the factors of aesthetic works by critics who compose images in their writings. In this study, the inference process of images for the interpretation and analysis of works was described by investigating the factors appearing in dance critics' writings on their impression of the works. By describing a critic's way of writing, which is shown in the critique on the Korean National Contemporary Dance Company's , the components and meaning of image inference in the work were examined. The study found that the trends in the form of the aesthetic work from critics' appreciation could be summarized as generalization and the universalization. It could be seen that the generalization acted as the basis of a basic judgement for the quality of the work, which appeared through understanding the subject and themes of the work. The universalization presented image refinement of inference for the analysis with technical requirements for aesthetic characteristics, form, social and philosophical structure, thoughts and ideas, and artistry. The critics writing on works has an open attitude to possess a convergent direction of interpretation as a progressive form against the abstractness appearing in the art of human society. However, it could be seen that the functional descriptions of artworks were presented to readers as as an association process of image inference in a censored form (which is generalization and universalization) in order to identify human society as cultural, social, and historical forms.

Han Sung Jun has been recognized as an extraordinary figure who collected traditional Korean dances and laid a foundation for systematic transmission during the late Chosun Dynasty and Japanese colonial period. Due to his significance, there have been ample researches in the past. However, there seemed to be some rooms for re-examination within the cultural contexts. The purpose of this study was to re-examine Han Sung Jun’s dance works, more specifically his social awareness as well as his dance perspective. Archives of his direct interviews were utilized for this task. Han Sung Jun, as an artist who experienced both feudal and colonial times, considered his life as a ‘shame.’ Based on this notion, he maintained his cultural identity during the abrupt changing times from the West dignity and accepted his fateful mission on traditional dance. Han Sung Jun focused on the principles of dance with open mindedness and holistic thoughts. Han Sung Jun’s three major dance works, ‘Seung Mu’, ‘Tae Pyung Mu’, and ‘Salpuri Chum’, were analyzed for better understanding using historical sources and Han Sung Jun’s thought. ‘Seung Mu’ was not just a form of religious dance but the crux of traditional dance cementing several cultures and ideologies. ‘Tae Pyung Mu’ could be viewed not only a dance for peaceful time and strong reign, but a dance for just society where all people were treated equal and lived an harmonious community. Lastly, ‘Salpuri Chum’ had the most liberal form and reflected the dancer’s emotion and could be regarded as the dance form with open possibilities.

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.

This study aimed to examine the transmission pattern of Kim Su-ak’s Traditional Dance and its artistic significance. Jinju Gyobang Dance refers to the dance handed down mainly through unique culture and Gyobang of the Jinju region. Representative Jinju Gyobang Dances include the Gutgeori Dance of Jinju Gyobang, Gueum Geommu, and Nongae Salpuri Dance. These dances were compiled by Kim Su-ak and then handed down mainly through Gyobang of Jinju and Seoul. This study examined the transmission pattern of Kim Su-ak’s Traditional Dance. In particular, it summarized three dance notations based on Seoul gyobang and looked into its expanding process through interviews with Kim Gyeong-ran, the assistant instructor of Kim Su-ak's dances. Jinju Gyobang Dance has not remained traditional. It has expanded from its traditional form, constantly giving pleasure to the public. This has been possible because it has increased its artistic value by creating a narrative structure through the perception of theater and space while retaining its original cultural form. This study showed that the value of Kim Su-ak’s Traditional Dance has been created by the transformation into the genre, which actively communicates with reality while faithfully keeping its original aesthetics and significance, and by the work to seek and build various methodologies. This can be explained by the specification of the original form and expansion into various themes through on the spot performances. This transformation into performing arts constitutes an important opportunity to explain works while presenting the direction of life to the public.

The idea of Korean dance that humanity and art should conform to the nature of heaven and earth is in common with Confucius' Confucian thought of Confucius. And it is connected with the aesthetic reason of harmony of right personality and healthy body. This study analyzed the aesthetics of Korean dance through the unity of heaven and human and I Keji Fuli between the as aesthetic feature of Confucian textuality. First, Munmyoilmu has a human the aesthetics nature and aesthetic character with a human the centered feature that makes up the virtue and personality of individuals and further builds a beautiful human society together with oneself and others. Second, the Kang Seon‐yeong style Taepyeongmu Dance endeavors to make a world in which a pervasive behavior affects the social community and all people can live in a society where order is fulfilled. It is a form of harmony and order of the heaven and earth, mediating the sky and the earth. Third, Dongraehakchum Dance with an idle creature of the gentry’s dancing, expresses the moral nobility of Confucianism that the crane possesses. The aesthetic consciousness of the viewer can be seen through the dance of the moral sublime of the coexistence of heaven and earth.

This study placed importance on being able to track aspects and characteristics of the dances which were popular in the Tang age (唐代) by examining the aspects of several Homu (胡舞) and Daegokakmu(大曲樂舞) shown in Bai Ju Yi (白居易)'s poems(詩). ≪Homu≫ appeared in the poetry and prose described , , and , while ≪Daegok≫ did and with details. ≪Daegok≫ was the dance that was restructured to add more grandeur and beauty. Bai Ju Yi changed ≪Daegok≫ to descriptive poems to make readers understand the organic relationship between its major historical background and figures. In this sense, the dance of the love between Emperor Xuanzong of Tang and Yang in Xi'an and the Emperor Dézōng of Táng (德宗)'s dances about beautiful music were all related to ≪Daegok≫. Thus, ≪Homu≫ and ≪Daegok≫ reviewed in Bai Ju Yi's poems can be found to be related to the foreign dances that were popular in the Tang age, the creative dances based on the traditional songs and dances, and historicity.

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”.