This study explores the possibilities and issues of NFT for dance records, setting preservation, exchange value, and the ethics of representation as its main agenda. The methods are literature analysis and case study. The discussion holds that NFT, as a non-fungible token, has the technical capacity to secure both authenticity preservation in dance documentation and commercial viability. In particular, from the standpoint of scarcity, NFT amplifies the aesthetic value of works and supports creators through rights protection and revenue sharing, indicating considerable industrial potential. However, sustained examination of the risks of legal disputes is required. In conclusion, NFT can provide an opportunity for an ecological transition of dance archives and has utilitarian value as a community token that advances the publicness and shareability of records. Therefore, even with ongoing technological developments such as AI, continued discourse on dance NFT is necessary.

This s tudy a ims to p ropose items a nd t echnical el ements f or t he e stabl ishment of a danceauthority record. To achieve this goal, the study examines the international standard ISAAR(CPF) for managing records and the types and technical elements of archival records at the National Archives. It also investigates the types and technical elements of the National Theater's digital archive and the Art Archive Seoul Museum of Art the characteristics of the field of arts. Subsequently, utilizing dance authority' records, the study extracts items and archival data targets, proposes items and technical elements for dance archival records. The proposed items in the research results include 'dancer, dance company, work title, location,' and the technical elements are based on the National Archives' areas of 'identification area, technology area, relationship area, control area' to apply detailed elements according to the items for public use.

This study is the first step to build electric culture map in advanced form with the topic of korea intangible cultural heritage dances. It aims to search for design methods for electric culture knowledge map. In order to achieve the objectives of the study, the present status of electric cultural knowledge map design methods was researched. After identifying the problems and systems of cultural heritage from Cultural Heritage Administration, the directions of electric cultural knowledge map design were suggested. As a result of study, the electric cultural map attracted interest and attention from domestic academic circle since ECAI started in 1996. And then it has expanded to humanities, geography, history, folklore, etc. Accordingly, the development of useful electronic cultural map was required as a new form of dance history and research tools in the field of dance. Second, as a result of reviewing the cultural heritage map from Cultural Heritage Administration, the cultural heritage map reached the current advanced level by building nation-designated cultural heritage information with electric cultural map over about 10 years since 2002. It also provides with movies, photos, monographs, etc. visually. However, the vast amount of troubles was found from search index, types of cultural heritage, location expression, distribution, information error, etc. They are the errors which occurred in the middle of building and classifying a great deal of data. Classifying system of easy search and multi-functionality was required. Third, the korea intangible cultural heritage suggested as problem recognition, electric cultural knowledge map of dance targeted only intangible cultural heritage dance to improve information provision. Linking to professional academic information like paper, it provides integrated professional knowledge, which is a dynamic content. Therefore, according to designed system, area classification and input guidelines were suggested as examples. Virtual map was realized to identify the potential to build electric cultural knowledge map of dance.

One modern dancer at the forefront of the art is SongBeom. Numerous studies have considered his life and work activities. However, an error exists, citing incorrect records. This research reconsiders the records of newspaper news organizations working on the agencies. SongBeom was established in the National Dance Company and played a major role in the 1962 writing style. Meanwhile, he demonstrated creative experimentation in Korean dance, helping to create a new framework. Paper records show that he entered the world of dance as an opportunity during a decisive time. He demonstrated endless enthusiasm for show. Not only can we check his newspaper records to clarify the title and year, we now can also consider his work and identify the notations. Performance on a performance advertising, unlike these days. Newspaper articles still contained some errors, but data are sound in terms of the work years. Even though he gross change in his microscopic, even if we approach Chuminsaeng can check the newspaper. It's a dance thing of a time of his activities through to become an opportunity to read the flow.

This article investigates the documentary recorda of Kyoukunshou (教訓抄, a musical book of gagaku) focusing on Batou (抜頭, one of the dances to belong of the Togaku). The record of Batou in Kyoukunshou has three following characteristics. First, it describes the history of Bugaku (舞楽, Japanese court dance) in such a manner that a comprehensive understanding of Batou from the its origin to its transfer and acceptance to Japan, actual performance, and transmission is possible. Second, it enables the grasping of theory, practice, and handing down situations of performances at a glance, and particularly in regard to the handing down of the performance, very detailed records have remained such that you can view the handing down chart of the tradition. Third, Japan's unique records, such as new motifs different from those found in Chinese records, are also found. This can be said to represent the process of transformation that has occurred while Tougaku (唐楽, style of gagaku based on Tang-era Chinese music and ancient Asia song and dance) from China has been settled down as Tougaku of Japan. Grasping the aspect of literature records in Kyoukunshou is like building a foundation for researching arts books written later. This study is significant in that it provided a clue for the study of Japanese Art books.

It is possible to determine how nongak (traditional Korean music performed by farmers) was sustained and what changes happened through various records including the history of lives and experiences of nongak performers, their personal diaries, village journals, village self-governing document, village minutes, etc. Using these records, this study elucidated the continuance and changing spectrum of nongak inherited in Sopo-ri, Jindo-gun, Jeolanam-do, the factors of change in and creation of tradition by village nongak, and the phenomenon of geolgul-jinbeomnon becoming permanent in Sopo-geolgun-nongak due to its designation as an cultural asset. This study also examined the identity of geolgun in Sopo-geolgun-nongak and how this designation became permanent. The composition of percussionists in the current Sopo-geolgun-nongak, such as the Jipsa, Mudong, Jorijung, Posu, Changbu, and Nongi(Nongu), or the performances of Geolgul-jinbeomnon had ben reconstructed since the mid-1980s based on the nongak document called Seosan-daesa-jinbeop-gungo from Haenam and other similar records. This was verified in this study through the changes in organizational composition of nongak bands since the 1960s. Nongak passed down in Sopo-ri was variously called as Sopo-ri Reconstruction Youth Society Nongak, Jindo Nongak, Geolgun Nongak, and Sopo-geolgun-nongak, etc. This study focused on examining the processes of Jindo Nongak Preservation Village formation and the designation of Sopo-geolgun-nongak as an intangible cultural asset in Jeolanam-do.

This study focuses on the sociocultural and artistical interrelations between the "Korean Dance" and two of the most popular non-textual forms of mass media - commercial sound recordings (gramophone records) and films (feature films, newsreels, documentaries) - between the 1930s and 1960s. First, this study focuses on how gramophone records were employed through the Korean dance recitals during this period, as well as on what type of music was used in these recitals. Second, this paper examines the films documenting "Korean Dance" shot and produced during the time period in question, and discusses how these films were produced and how it has impacted establishing the "Korean Dance" through its mass distribution. By doing so, this paper attempts to provide a preliminary suggestion on how the "Korean Dance" has made its transitions over time, as well as an opportunity to historically understand the actual manifestation of "Korean dance" during its earlier days of a modern form of performing arts. It can be strongly argued that a strong sense of a historical parallel is revealed between the historic development of the Korean Dance in the early 20th century Korea and the development of the notion of Korean national culture, as both came into their modern manifestation through a series of constant interactions between Korean premodern cultures and the modern foreign cultures.