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 compares the sugeon dance traditions of the Yeongnam and Honam regions to examine regional distinctions and cultural significance. Through literature analysis, comparative video review, and archival research, it identifies differences in rhythmic structure, handkerchief technique, and stage adaptation. The Yeongnam tradition reflects the formal aesthetics and restrained movement style associated with court dance through its Gyobang and Gwonbeon lineages. In contrast, the Honam tradition demonstrates dynamic expressiveness through the interplay of regular and syncopated rhythms and diverse handkerchief techniques. Centered on the respective transmission lineages, both traditions have formed significant strands in modern Korean dance while reinforcing regional identity and community cohesion. However, the study confirms the need to establish a comprehensive digital archive and strengthen international accessibility. By exmining regional diversity within the shared genre of sugeon dance, this study provides foundational material for the globalization of Korean traditional dance and discussions on cultural heritage. Keywords Traditional Dance, Yeongnam Sugeon Dance, Honam Sugeon Dance, Jeong Sosan, Sin Gwan Cheol

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.

The purpose of this study is to examine how Gyeonggi-do Dang-gut has influenced contemporary dances that use jinsoe as a prop and to explore the ways in which these dances have developed. As research methods, prior studies were reviewed, and video materials were analyzed. Dances that utilize jinsoe and have been inherited and developed from the lineage of Gyeonggi-do Dang-gut include Lee Yong-woo and Kim Sook-ja’s Turbulim Dance, Lee Dong-an’s Jinsoe Dance, and Jo Heung-dong’s Jinsoe Dance. This study investigates the origins, forms, and artistic characteristics of these dances, as well as their relationship to the roots of Gyeonggi-do Dodang-gut. All of these works employ the rhythmic patterns (jangdan) of Gyeonggi-do Dodang-gut and either transform actions derived from the ritual sequence of gut into performing arts or transmit them through the formalization of artistic works. Jo Heung-dong’s Jinsoe Dance is further identified as a creatively developed work grounded in tradition.

This study, focusing on the Lion Dance Act of Bukcheong Saja Noleum, explores the potential of traditional arts as creative resources in contemporary performing arts. The research employed a comparative cultural case study in conjunction with creative practice research. First, a review of literature and analysis of video materials examined the performance structure, dance movements, and symbolic system of the lion dance. Second, the researcher’s own choreographic practice, transformed the traditional movements and reconfigured them into new choreographic vocabularies. The findings revealed, first, that the themes, spatial pathways, music, and costumes of the lion dance were reconstructed in the creative work Lion Play, and second, that expressive symbolism emerged, highlighting apotropaic functions, reconciliation and coexistence, and the festive spirit of community. This study demonstrates how traditional arts can generate new meanings and aesthetic values within the language of contemporary dance, while also identifying points of connection between tradition and modern performance. Furthermore, it suggests the potential of traditional heritage-based dance creation to expand artistic practices and to serve as foundational resources in production, planning, and education within the performing arts.

The purpose of this study was to explore the impact of SNS-based communication on organizational commitment among Korean dancers. The collected data were analyzed using SPSS Ver. 29.0, employing frequency analysis, exploratory factor analysis, reliability analysis, correlation analysis, and multiple regression analysis to derive the research findings. SNS communication significantly influenced all three types of organizational commitment: continuance commitment, normative commitment, and affective commitment. Specifically, clear responses and empathy had the most substantial impact on continuance commitment, while information sharing and empathy were most influential for normative commitment. Affective commitment was primarily affected by clear responses. The study also revealed that excessive use of SNS could have a negative impact by fostering comparison and competition, which could hinder organizational commitment. Therefore, dance organizations should develop strategies to enhance positive communication through SNS while minimizing its negative effects.

The purpose of this study is to illuminate the development and characteristics of dances in the area of Seoul based on achievements and significant contributions of Han Seong-jun, a master of Korean traditional dance. The study period spans from 1908, when Han Seong-jun settled in Seoul, to 1941, the year of his passing. Research methods involve literature related to Korean music and dance, as well as examining newspaper materials. The research focuses on Han Seong-jun’s dance lineage within traditional dance. The findings reveal that dance evolved through both theatrical and private arts organizations. In the early 1900s, Seoul-based dances, following Han Seong-jun’s legacy, were performed by artists associated with various private arts groups, gradually transitioning into commercialized, staged, and entertainment-oriented forms. From a traditional and creative perspective, dances are categorized into those transmitted and performed continuously and those that have disappeared and are now being revived. From today’s perspective, the approximately 72 works that Han Seong-jun staged, restructured, and created can be considered ‘Han Seong-jun style new tradition’. Most of the works have been destroyed, but there has been a movement to restore and reproduce them recently.

This study aims to explore the potential development of Jeonju Daesaseupnori by analyzing the recently popularized reality survival competition programs. The research focuses on identifying strategies that could enhance the popular appeal of Jeonju Daesaseupnori while preserving its traditional artistic values, through a literature review and analysis of previous studies. The results suggest applying key elements of survival competition programs, such as competitive narratives and public participation, to Jeonju Daesaseupnori. Specifically, this includes fostering fandom culture centered around expert listeners (Gwi-myeongchang), expanding opportunities for public participation in competitions, and introducing competitive storytelling systems to create new content. This approach is significant in that it explores ways for Jeonju Daesaseupnori to gain wider public support and further grow as a prominent K-content.

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.