This study aims to provide a multidimentional reconstruction of the transmission landscape of city- and provincial-designated intangible heritage dance arts of the Seoul metropolitan and central regions, and to explore a sustainable transmission paradigm. To this end, a comprehensive survey of intangible heritage designations within the region was conducted, and a comparative analysis of the aesthetic characteristics of salpuri chum and seungmu was performed according to their respective lineages. The analysis revealed a severe geographical imbalance; dance genres are heavily concentrated in western plain areas such as Seoul and Gyeonggi, whereas eastern mountainous areas like Gangwon and Jungbuk show uneven transmission due to the absorption of dance elements into composite ritual genres. Nevertheless, even within the same genre, distinctive artistic identities have differentiated into classical beauty, ritual character, and aesthetic flexibility depending on master-disciple lineages and regional sensibilities. Accordingly, this study proposes practical alternatives combining multidimensional archiving of fragmented local dance assets with a communication strategy that employs media technology as a limited supplement. This study is significant in demonstrating that regional intangible heritage constitutes an independent value system that sustains the diversity of Korean dance, and in establishing the necessity of a diversified transmission paradigm.

This study examines the aesthetic characteristics of the seungmu of Beopu Song Jaeseop, designated as the Intangible Cultural Heritage of Daejeon Metropolitan City. Having studied seungmu under Yi Maebang since 1989, Song Jae-seop established his own dance style by adding on his artistic interpretation. Through literature review, analysis of oral data, and comparative aesthetic analysis, this study identifies four aesthetic characteristics of this style. First, the beauty of inward restraint and condensation, which emphasizes stillness and breath before movement. Second, breath-centered physical expression, where deep and slow breathing determines the beginning and end of movements. Third, internal expression through jangsam (long-sleeved robe) that reveals the performer’s inner state rather than visual splendor. Fourth, the synthesis of locality and artistry formed by combining the aesthetic traits of Yi's style with Daejeon's regional characteristics. Consequently, this study confirms that the seungmu of Beopu Song Jaeseop is not a mere regional transmission of the Yi Maebang style, but a unique school reflecting the practitioner's performative life and artistic values.

This study examines how Han Seongjun’s aesthetics in Jeukheungmu were transmitted to Gang Seonyeong. Using documents from the Joseon Music and Dance Institute and oral accounts from Gang and her successor Gim Miran, the study employs an interpretive method. Han’s instruction- “gcombine the learned movements and create your own dance”-shows his view of Jeukheungmu as a form of individuality and inner freedom. Gang embodied this lineage through affective contrasts of stillness and sudden release and the coexistence of joy and sorrow. Testimony on the “six movements” confirms Jeukheungmu as a core creative-pedagogical system reflecting Han’s aesthetics. This study clarifies how freedom and emotion are inherited within Korean dance.

This study explores how NFT (Non-Fungible Token) technology transforms the ontological conditions of dance as an intangible art form We employ a literature review as the research method, collecting data through NFT-related dance cases and existing studies. Theoretical frameworks, including Walter Benjamin’s concept of aura, Jean Baudrillard’s theory of simulacra, and Philip Auslander’s performance theory, are applied to analyze the changes in the concepts of liveness, authenticity, and ownership. The findings reveal that NFTs provide dance with digital uniqueness and technical authenticity, shifting the traditionally ephemeral and non-ownable nature of dance. Through the lens of “scarcity aesthetics,” NFTs introduce new possibilities for the aesthetics of dance, enabling the creation of digital ownership and authenticity. This study suggests that NFT technology can reconstruct the ontological conditions of dance, offering a novel perspective on the relationship between the intangible art form and digital technology in the contemporary era.

The purpose of this study is to explore the communal life and aesthetic consciousness inherent in Su-yeongJi-shin Bal-gi and re-evaluate its value as a form of folk culture. The main discussion of this paper focused on folk culture and folk dance as a communal cultural element through the analysis of literature and academic materials related to Su-yeong Ji-shin Bal-gi. In addition, photographs taken at the 49th Suyeong Traditional Folk Arts Festival were used as research data to describe and analyze the dance movements. As a result of the study, the aesthetic consciousness of the East, which prioritizes naturalness, and that of the West, which emphasizes orderliness, are both embedded in the ritual. Additionally, the ritual embraces the dance principle of Jeongjungdong represented in Korean traditional dance, the communal dance seen in Madang, and the subject-object unity between performers and spectators.

This study discusses the early modern dance formation in Busan during the liberation period 1945-1950. The study discusses its historical significance and aesthetic value from a contemporary perspective. For this study, a literature review on previous research and newspaper articles was used as a research method in order to examine modern dancers’ works and their educational activities during the liberation period. Modern dances in Busan that supported a new way of creating stage performances were influenced by western cultures and “New Dance.” During the liberation period, modern dancers in Busan expressed national identity and individuality through dance while promoting dance education as the human experience. Park Yongho and Park Yirang held dance concerts to show their own creative dance pieces, which were different from previous dance performances displayed in Busan. The liberation period was important for dance history in Busan as it was the beginning of establishing modern dance in that area. Also, modern dances during that time were historically significant as they fostered nationalism and suggested a new dance aesthetic. Modern dance in Busan during the liberation period set a foundation for modern dance activities that focused on creativity and education after the Korean War.

This study aims to analyze the life and aesthetic philosophy of Zhao Dexian, a pioneer and innovator Korean-Chinese dance theory. Zhao Dexian conducted research on the expressive techniques of dancers based on physiology and psychology, concurrently developing educational methods that combine theory and practice. This not only contributed to the development of Korean-Chinese traditional dance's stage expression but also played a significant role in an educational context. Building upon existing research, this study collects and organizes materials such as Zhao Dexian's writings, research papers, and critiques. In addition, it conducts in-depth interviews with Zhao Dexian's children, disciples, and relevant individuals to supplement any gaps in existing literature and to delve into the details of Zhao Dexian's growth and artistic activities while analyzing his aesthetic philosophy.

The aesthetic philosophy inherent in Zhao Dexian's dance art centers around the unification of mind and body. It explores how to harmonize emotional understanding and expression from both physiological and perspectives. The fundamental practice of this expression emphasizes dance training based on de analysis of humans through the "Si Xiang Fang" constitutional characteristics. In summary, this study highlights Zhao Dexian's contributions to the field of Korean-Chinese dance. Significantly, the study on his unique aesthetic philosophy suggests a further investgation of Korean-Chinese dance education and a better understanding of artistic exchange between Korea and China.

The purpose of this thesis is to interpret Salpuri-chum from the perspective of Adorno's mimesis and derive its argument from an aesthetic point of view. As a research method, a literature search method was used, and theoretical horizon research was conducted centering on ^『Aesthetic Theory_』 (1984), one of Adorno's books, and research was conducted centering on theses and academic journals related to aesthetic approaches. As a result, the theoretical horizon was derived by classifying firstly the meaning of Adorno mimesis, secondly Salpuri-chum as an aesthetic study, and thirdly Salpuri-chum through Adorno mimesis. This study contains the simple desire of the researcher to further expand the artistic value of Salpuri-chum, explore and analyze it from various perspectives, and inherit the preservation value of cultural and historical importance. And it is hoped that this study will contribute to the knowledge and appreciation of Salpuri-chum in a more developed form.

This study investigates the historical roots of the "Toad Dance" that emerged in Dongnae, Busan and documents its music, costumes, and major movements. From the perspective of resonance aesthetics, this study focuses on the Toad Dance performed by Kim, Hee-sang (1924-1995) at the Small Theater of the National Theater of Korea on June 22, 1984. Based on data collected from an interview with Kim, Onkyeong (1938-), the study reveals that the main performance space for the Toad Dance was Gibang (an indoor entertainment space). Kim also disclosed that the Toad Dance was performed by a male-female couple in the Gibang, but by one person in the outdoor space. Through analysis of newspaper articles on multiple performances of the Toad Dance from 1984-1998, as well as video and archival sources of the Toad dances documented by Park, Jinju (1936-1986), the study articulates the following characteristics of the Toad Dance: 1) The dance movements of the Toad Dance are generated based on improvisation; 2) The performance spaces for the Toad Dance include both outdoor and indoor areas; and 3) The Toad Dance symbolizes 'play' and 'origin', represents unique mimic costumes, and utilizes the breathing method based on the Dongnae Deotbaegi rhythm.

The purpose of this study is to examine the aesthetics inherent in Lee Eun-joo’s Sanjo dance, Geumseonmu. The study utilizes literature research and participatory observation methods, including in-depth interviews, oral records, and embodiment. The results of this study are as follows, First, Geumseonmu is a work that combines mind and body, which is a typical characteristic of Sanjo dance. Second, it has inherent feminist tendencies. Third, it is a traditional dance that makes good use of Korean elements. Fourth, it stands out for its artistry through the combination of various art forms. In metaphorical terms, Lee Eun-joo's Sanjo dance, Geumseonmu can be interpreted as a painting that emphasizes lines and empty space, a technique found in traditional Asian paintings. Significantly, her Sanjo dance expresses the factual aspects of external objects and the inner beauty of eternal life through dance.