This study aims to examine the value and transmission directions of dances designated as cultural heritage from the Five Northern Provinces (Ibuk 5-do) transmitted in South Korea: Hwagwanmu from Hwanghae Province, Pyeongyang Geommu and Pyeongnam Sugeonnchum from South Pyongan Province, Gim Baekbong's buchaechum (Fan Dance), and Hambuk Seonnyeochum from North Hamgyeong Province. The research research draws primarily on historical literature and institutional materials from the Five Northern Provinces Committee. The study confirms how practitioners transmitters have preserved the cultural heritage of the northern provinces through the Japanese colonial period and national division, and analyzes the artistic, regional, and educational value of each dance. The findings suggests the need for a sustainable transmission system: first, securing transmission records through archiving; second, establishing a systemic framework for research on dance genealogy and related music; third, expanding the designation of new genres and strengthening collaboration within the Five Northern Provinces Committee; and finally, establishing an online platform for the cultural heritage of the Five Northern Provinces. These proposals lay the groundwork for future extension to include other dance genres and yet undesignated cultural heritage.

This study aims to establish the category of Korean traditional dance, in which Korean aesthetic consciousness and spiritual culture are embedded. The purpose is to explore the cultural-historical and policy implications of its inscription on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. By analyzing historical literature and current state of domestic transmission, the study approaches the subject from perspective of ‘typical form [jeonhyeong]’ the intersection of tradition and modern transmission. The results confirm that dance forms redefined as stage arts in the modern era constitute the foundation of contemporary Korean traditional dance Furthermore, UNESCO inscription facilitates the globalization of the identity of Korean arts and shifts the policy paradigm from ‘preservation’ to sustainable ‘transmission and promotion.’ This study is significant in proposing a cultural-historical category for Korean traditional dance and presenting policy recommendations for UNESCO inscription. It serves as a scholarly and policy foundation encompassing both the preservation of archetypal forms and modern re-creation.

This study examines the evolution of modern dance culture amidst the historical tribulations of the colonial era by analyzing dance photographs published in 1920s newspapers. Utilizing a literature review methodology, the research analyzes 317 photographs from Maeil Sinbo (154), Joseon Ilbo [Chosun Ilbo] (93), and Dong-a Ilbo (70). The analysis revealed three key findings. First, the photographs visually corroborate the heteronomous nature of dance culture under colonial rule. Second, they demonstrate the systematic assimilation of Japanese dance into colonial Korea. These images expose an imperialist agenda designed to manage and mobilize the colonized population under the pretext of artistic exchange. Third, despite such oppression, the photographs capture the emergence of a modern and subjective dance culture. This study holds significant value by providing a comprehensive pictorial understanding of the performing arts landscape during the Japanese occupation through the lens of newspaper photography. By re-evaluating these visual archives, the research illuminates the complex interplay between colonial hegemony and the pursuit of modern cultural identity in 1920s Korea.

This study aims to understand the dance culture of the Joseon Dynasty through ‘dance paintings of imagined space’ and ‘dance paintings of folk space’. I used the methods of iconography and literature research. The results of the study are as follows. First, the performers of the dance were diverse, ranging from fairies to religious monks and shamans, entertainers such as gisaeng and sadangpae, dancers, noblemen, and farmers. Second, the background of the dance was mainly a feast. Third, the dance stage was set up outdoors with mats. Fourth, the types of dance were diverse. Fifth, the dance formation was mainly a duet. Sixth, the reason why the dance paintings were abundant is because the Joseon people enjoyed dancing, and dance was a very useful symbol when expressing exciting moments in life. The significance of the study is that the rich dance culture of the Joseon people was confirmed through paintings.

This study analyzes the cultural transformation process of government gisaengs from 1908 to 1945 through a cultural psychological perspective. To this end, various data such as newspapers and magazines at the time were used to examine the cultural change and adaptation patterns of government gisaengs from the socio-cultural and psychological aspects. John W. Berry's theory of cultural transformation provided the theoretical framework, upon which the changes of government gisaengs were categorized into four categories: assimilation, separation, integration, and marginalization. As a result of the study, in assimilation, separation, and integration, models, actors, singers, calligraphy artists, independence activists, parasitic schools, and gwonbeon trained professional artists to form a positive social identity. On the other hand, in the marginalization, a negative phenomenon of experiencing social exclusion and alienation and leading an unstable life appeared. This study will contribute to expanding the understanding of cultural transformation of traditional artists by revealing how the identity of government gisaengs was reconstructed in a cultural psychological manner amid modern changes.

This study aims to analyze the changing aspects of the Cheonan World Dance Festival and explore its future value. The research is conducted by the analysis of records of the dance festival through media such as the Internet and press promotional materials, while focusing on qualitative research based on literature, examining the historical development process of the festival and its current value as a dance festival, and suggesting future direction and strategies for the festival. The Cheonan World Dance Festival started as a general local festival called the ‘Cheonan Semgeori Heungtaeryeong Cultural Festival’ in 1987 and has been renamed as the ‘Cheonan Semgeori Cultural Festival’ in 1990, the ‘Cheonan Heung-taeryeong Festival’ in 2008, and the ‘Cheonan World Dance Festival’ in 2011. It is a representative local dance festival in Korea that has secured the image and identity of Cheonan through content development and title design. ‘Cheonan World Dance Festival’ have been recognized for their values through the preservation and succession of traditional culture, strengthening of regional identity, acceptance of cultural diversity, and their role as a tourism resource for long time. In order to embrace the changing times and be reborn as a world-class festival, however, the Cheonan World Dance Festival should consider modern changes, innovations, and digital transformations while strengthening publicity, expanding participatory programs, developing sustainable operation models, and increasing international exchanges.

This study aims to reconsider the historical and cultural value of Jeonju Daesaseupnori by examining its 50- year history and acknowledge its status and meaning of existence. Accordingly, this paper summarizes the origin and formation process of Jeonju Daesaseupnori, which was revived in 1975, and identifies the way in which it was developed into the largest festival of pansori in the late Joseon Dynasty from various folk martial arts and performances practiced during the reign of King Sukjong. This paper also organizes the cultural value of Jeonju Daesaseupnori into the following five categories: historical, symbolic, community, aesthetic, and sustainability.

This study aims to reassess the distinctiveness and competitiveness of the Jeonju Daesaseup Festival, a traditional Korean music competition, and explore the utility of its various contents. To achieve this, the research analyzes the Daesaseup Festival evaluation sheets and observations of the competition and performance venues. The results of the study are as follows: Firstly, it is necessary to introduce differentiated competition categories and performances, as well as seminars for storytelling, folk music, dance, archery, and poetry, which are integral parts of the Daesaseup Festival. Secondly, historical sites such as Unhyeongung Palace, Jeolla Gamyeong, and Hanok Village can be transformed into tourist and cultural zones by integrating them with the competition and performances. Thirdly, the system of citizen judges should be adjusted to reflect a fair balance of gender and region. Reevaluation and careful management of the selection and operation of judges are necessary to ensure the fairness of the competition, and expansion of meticulous post-appointment management programs is also required. This study places significance on the historical aspect of the Jeonju Daesaseup Festival and its distinctiveness compared to other traditional art competitions.

The purpose of this study is to investigate the value and effect of Myeongjakmu as cultural contents and to study development measures for revitalization. A total of eleven experts, including eight original performers and successors of Myeongjakmu and three dance performance planners and administrators, were interviewed in both unstructured and semi-structured ways. Based on the data collected from the interviews with these experts, two areas of Myeongjakmu – its creative values and its ripple effects – emerged to serve as cultural contents. Music, dance moves, costumes, and props were categorized into the creative value area, while popularization, consensus formation, and accessibility were classified into the area of ripple effects. In this article we propose four development plans to revitalize Myeongjakmu based on the experts opinions. Establishing the status of Myeongjakmu, policy support, deepening expertise, and securing sustainability. These actions will increase the value of the disappearing Korean dance cultural heritage as a systematic study for future Myeongjakmu, and contribute to the establishment of related knowledge systems and basic composition of transfer materials.

The purpose of the study is to analyze the traditional cultural values of Li-ping Yang’s Dynamic Yunnan from artistic, social and economic aspects. Based on literature review and video analysis of dance and movement and its cultural context, the aesthetic characteristics of Dynamic Yunnan were identified. First, its artistic value lies in the original form derived from the unique vitality of the traditional dance of the minority nationality. Second, it was made to regard national culture ideologically as a social value. Third, in terms of economic value, the tourism industry in the Yunnan region has grown by using the dance as a resource to create economic value through its artistic content and aesthetic forms. It reminded the public of how traditional dances can be preserved and developed by combining these traditional dances of Chinese minorities with modern stages. Furthermore, it illustrates the significance and validity of entering the market for dance art works by presenting representative examples of the development of the cultural industry.