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.

The purpose of this article is to explain the characteristics of mind-heart and acknowledgement, emphasized in the practice of traditional korea dance, based on the theory of Wang Yangmyung's psychology. We examine the mind-heart, acknowledgement, and the art theory in 󰡔JJeonseubrok(the tradition records)󰡕along with the words emphasized by the masters of the traditional dance, and express them with a language that can be publicized. According to Wang Yangmyung's theory of psychology, we can say that what good mind stands for in "Good dance comes from good mind" is the state where the rightness is embodied in mind and that 'good dance' means the state where 'non-embodiment' of movement and 'non-embodiment' of emotion is realized. In particular, we must always pursue 'sincerity' in the domain of mind-heart, which we know alone. Through these languages, the internal and external value and meaning of Korean traditional dance can be revealed. There is a saying that "effective practice precedes theories of it." Effective practice of traditional dance has existed for a long time. However, the theory of its practice is not sufficient. This article attempts to theoretically explain the effective practice that has always been with us since a long time ago. This article has its significance in that it tries for the first time to theoretically explain the thesis of traditional dance, "Good dance comes from good mind" by using the mind-heart and the acknowledgement of dancer which was emphasized by traditional dancing masters. In particular, it is meaningful that it approached the theory of mind and acknowledgement theory of traditional dance based on the study of Wang Yangmyung.