This study examines sinmuyong, a core asset of Korean modern dance, from the perspective of contemporary intangible heritage discourse and derives practical tasks for enhancing its cultural heritage value and status. To this end, the study reviews the paradigm shift in cultural heritage concerning modern arts and and substantiates the historical transmission lineage and the tangible existence of works in sinmuyong through literature research and case analysis. The findings confirm that sinmuyong is the product of the an autonomous aesthetics that led to the modern change of tradition and that it sufficiently meets the requirements of “living heritage” through an established transmission lineage and identifiable repertoire.. This study is significant in broadening the horizon of Korean dance heritage by defining sinmuyong as an ongoing, living heritage.

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 article explores the conceptual design and strategy for inscribing “Traditional Dance of Korea” on the Lists under the UNESCO 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. Rather than viewing inscription as cultural recognition or artistic evaluation, it examines how living dance practices can be defined, governed, and sustained within the Convention’s normative framework. The study comparatively analyzes dance-related elements on UNESCO’s Intangible Cultural Heritage Lists, classifying them by form, social context, and mediating components such as music, costume, craft, and ritual. It also reviews the case of Modern Dance in Germany to illuminate tensions between artistic genres and community-based cultural practices. The article argues that Korean traditional dance should be presented not as fixed repertoires but as a dynamic assemblage of knowledge, skills, transmission systems, and performance contexts continually recreated by communities. Successful inscription, it contends, requires integrated design encompassing community-centered governance, linkage with national inventories, and safeguarding measures that prevent decontextualization. It concludes by proposing single-state, multinational, and extension pathways, offering scholarly and policy implications aligned with sustainability, cultural diversity, and community agency.

This study examines the significance of shin minyo dance, a modern dance heritage that was popular from the 1930s to the 1960s, with particular focus on the works of Bae Guja, who created dances based on the folk songs Cheonan Samgeori and Doraji Taryeong. Employing a practice-based research methodology, the study centers on the processes of re-enactment and restoration, while analyzing the reproduction of these works in a contemporary context. The findings reveal that the living transmission of cultural heritage lies not merely in reproduction or restoration, but more importantly in the modern succession and sustainability of dance that reflects both national identity and regional characteristics. Furthermore, this research proposes creative methodologies for integrating the cultural value of traditional dance into contemporary society and underscores the significance of modern succession of modern dance heritage.

The purpose of this study is to investigate knowledge about Kim Baek-bong Fan Dance, which is designated as an intangible cultural heritage whose original form can be accurately identified among Fan Dances. Accordingly, this study conducted a survey of 236 people: Korean dance majors who have learned Kim Baek-bong Fan Dance in a school class for one semester, trainees and successors, those who have learned through a workshop, those who have briefly learned as a general special lecture, and those who have watched a performance.

As a result, the group of trainees and successors had a high correct answer rate overall in items related to the background of its creation, rhythm makeup, dance costume composition, aesthetic characteristics and fans, while the group that participated in general special lectures, workshops and watching tended to have a high incorrect answer rate.

This study recognizes the need for disseminating more accurate knowledge in a situation where fan dance is mistaken for a Chinese dance, and it is judged that this will contribute to exploring educational methods for the correct transmission of Korean intangible cultural heritage in the future.