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.

Compare to the other arts forms, dance as an intangible performing arts foam is restricted in records. Until the photo and video materials were actively utilized for recording dance, the dance was only remained in memories of dancers and audience members who experienced the dance site of those times. Recently dance oral history is beginning to apply for writing new dance history. While dance oral history offers to dancers to testify their own histories, it makes dance people to participate in writing dance history. Thus, oral history scripts on dance that is dance peoples’ oral texts can expend horizon of dance history’s writing. In present, historical resources on the 20th century’s Korean dance, particularly in the period of Korean Liberation (1945~1948) and the period of Korea War (1950~1953) are poor as if these periods are vacuity. Even if some documents related to these periods are existed, those contents are the event, the dancer, the dance work, the dance criticism, and dance organization which are limited evidence of these periods. On the other hands, oral history scripts on dance related to these periods provide vivid historical evidences on cultural environments and real situations of dance production and dancers. Because those oral texts were created by voices of senior dancers who lived in these periods. Futhermore, the scripts clue in on anthological, sociological, and psychological resources related to the dancer or dance trends in these two periods. Therefore, applications of oral history scripts on dance enable to write on deeper historical themes, such as the dancer’s identity, changes of aesthetics, trends of dance creation, dance policies, and dance agencies in the 20th century. The purpose of this study is how to overcoming limitations of writing on the 20th century’s Korean dance history through the oral history scripts on dance. First of all, the researcher analyzed two dance history books, Hangguk Hyeondae Yesulsa Daegye I [An Outline of Arts History of the Korean Modern Period] and Woori Muyong Baeknyeon [100 Years of Korean Dance]. Then, the vacancy and the errs related to the period of Korean Liberation and the period of Korea War that discovered in those two books were made up with the texts of oral history on dance that completed in 2008 and 2009 by the Arts Resource Center of the Arts Council Korea. In result, this study has attempt to open new horizon for writing on history of the 20th century’s Korean dance. Even though this study first attempts to apply the oral history text of senior dancers for writing dance history, the trail is limited to supplying new historical facts. That is, the study could not developed to writing new dance history because previous resources were so poverty than the researcher had expected. In the future the oral history scripts would aid not only dance history researchers to write alternative dance history, but also to discover counter memories compare to the previous dance history books.

Dance is an intangible art that disappears without a trace at the moment of performance, and it is necessary to record it for preservation, re-appreciation, and recreation of dance. From the past, the record of dance has been preserved in a fixed medium such as pictures, photographs, dance notations, etc., which capture impressive scenes of dancing and record images and texts, and a moving image that records the whole process of dancing. However, the recording by these media was indifferent to the thoughts and voices of the people involved in the dance creation. Naturally, in the writings of Korean dance history using these materials, the voice of dancers and the people who are related to dance creation are avoided. The dance oral history emerged as a methodology of dance research is based on the dancer's memories of the body, dancing, and life, and can be used as reliable date for dancers and researchers in that dancers speak for themselves and participate in writing dance history. In order to increase utilization of the dance oral history, this paper seeks creative way for application of 48 dance people's oral history transcripts produced by the Korea Arts Council in 2008 and 2009. Accordingly, three types of diagram related to the Korean dance scene in the 20th century, such as a chart for the 20th century dance educational institutions, a map of dance studios in Chungmu-ro, Seoul in the 1950s, and genealogy charts by dance genres were created.