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.