Copyright refers to the exclusive and monopolistic right, being given to the creator of creative works that includes literary, artistic or musical ones. According to the present copyright law of South Korea, dance is categorized as a kind of theatrical works, but it is necessary to discuss whether or not such a classification is appropriate. Of course, both a dance and a theatrical work can be classified into performance arts as the two genres are most closely adjacent to each other. Since dance and play have their distinct characteristics as unique genres, however, the application of a copyright should be made from different perspectives. This study aims to examine the importance of establishing professional and concrete regulations with regard to the dance works and discussing what to consider for that purpose. One of the foremost and top priority concerns for the dance works in the nation is that the domestic dance community should come up with its own copyright regulations independent from the theatrical works. As the present copyright law for the theatrical works does not consider the unique characteristics of dance such as choreography, it is hard for the domestic dance community to properly claim and exercise its rights. Therefore, independent copyright regulations are urgently needed to protect the specialized rights for the dance works apart from the theatrical works. As part of the efforts to better protect the rights for the dance works, it is also necessary to submit the storyboard of choreography or the video clips to help meet the requirements of the copyright law. It is necessary to reestablish the proper regulations for the copyright for dance after having technically and concretely examined the characteristics of dances performed in the nation and ultimately to work for the revision of the current copyright law for dance.

This study summarizes issues related to copyright issues around dance or choreography in Korea. As a result of analyzing 42 previous studies, which was searched at RISS(Research Information Sharing Services), three major issues were aroused. First, the concept of dance copyright should be defined more clearly, and the requirements for recognition of creativity in dance works should be clarified. Second, in order to activate dance copyright protection, it is necessary to fix the ephemeral phenomena of dance in tangible media. Third, dance copyright is classified as a dramatic works in Korean Copyright Act, but the term is not appropriate. The main contents of this discussion reviews copyright law and precedents of each country, including Korea. Based on these discussions, a suggested improvement plan for the protection of dance copyright is proposed.

Recently the copyright issue in the traditional cultural field is being discussed due to the copyright claim on traditional dance. The copyright norms is unfamiliar to those who are engaged in traditional cultural fields in Korea. Despite this unfamiliarity, the number of cases in which copyright law is applied to the field of traditional culture is increasing. The copyright cases that have occurred in the field of literary works such as books in the past are now spreading to art, music, and dance. In this article, I have discussed some issues in judging the creativity and substantial similarity of cultural heritage-based works through representative cases of art works and musical works related to intangible cultural heritage. The copyright system is based on the assumption that a specific author has exclusive copyright for the work. On the other hand, many cultural heritages presuppose that ‘communities or groups’ have created, maintained and propagated them, and it is not easy to identify copyright holders because their boundaries are ambiguous. In addition, in order to establish an exclusive right such as copyright, a clear boundary must be set for the work, which is an object of rights, but the boundary of the traditional culture that has continuously changed from the past is not clear. Therefore, I suggest the open source model as an alternative to exclusive copyright.

This study aims to explore the performativity of dramaturgy with in the field of expanded choreography. I look into the concepts of expanded choreography after the 1990s and discuss Jeroen Peeters’s dramaturgy in the respect of performativity. The characteristics of expanded choreography are as follow. First, choreographers are capable of producing knowledge rather than an artifact. The knowledge that can be produced is not rigid but more comprehensive. Second, the choreographers carry out experimental choreography with the paradigm of interdisciplinary and meta-media performing arts. They All the collaborators can be considered as an author which used to be given to only choreographers. Third, many choreographers attempt to explore the relationship between the body and society. They consider the social engaging of dance into the choreography. To examine how dramaturgs elaborate their own performativity in the area of expanded choreography, I have chosen the physical dramaturgy of Jeroen Peeters. I found results as below. First, a theory can be discovered in the choreographic practice. Materials can be chosen not only body gestures and movements but also other media, philosophy, and theories. Second, the dramaturg should approach to the process of choreography with empirical research. The practice of dramaturgy is involved in embodied thinking, in structuring, and performative operation of whole process. Third, the role of dramaturgy is performatively changed in every individual work. In contrast with the classical dramaturgy, the new dramaturgy in contemporary dance not deal with the abstraction of knowledge but practice in the way of performativity.

This study focused on the transformation process in which the traditional dance of Korea created new content and forms and wrote modern cultural discourses after the appearance of a modern theater. The construction of a theater established a modern value system including the perceptions of time and space, formation of a consumption structure, and emergence of the audience in a horizontal order. These changes happened around theaters such as the Mudong Banquet Hall, Hyeoryulsa, Gwangmudae and Danseongsa in Korea, and these spaces attracted the attention of the public through the changes of their microscopic repertoires mostly based on the traditional arts. They held values as they provided the public with aesthetic objects to be enjoyed and created a new cultural tradition through the gradual transformation of the culture. The traditional performance arts communicated with the public and moved forward by making an adjustment into stage performance arts in the middle of microscopic transformations that included the star system based on two Gisaengs of Gwangmudae, Ok-yeop and San-ok, a series story in a newspaper called "Yedanilbaekin," and long-term performance of Gangseonru.

Korean traditional dance is a well-established traditional art as years go by. Recently, Korean traditional dances have seen renewed popularity, but in the process, new interpretations and transformations have eroded the historical and spiritual values inherited in these traditional dances. This study is to rediscover these historical and spiritual values by re-examining the life and dance philosophy of Han Sung-Jun (韓成俊, 1874-1941), and how these had been handed down to Han Youn-sook and Lee Ae-ju. The research reviews existing literature with comprehensive and in-depth analysis. Han Sung-Jun, who came from a long line of dance artists who inherited and developed dance practices reflecting the unique identity of the Korean people, believed that it was through dancing that the human body could truly manifest its natural vitality and emphasized patient learning and training. Han Sung-jun's philosophy was passed on to his granddaughter, Han Young-sook (韓英淑, 1920-1989), who emphasized the exclusion of foreign imitation and of exaggeration by utilizing the spontaneous characteristics of Korean dance. She particularly criticized the blind following/copying of foreign dances and emphasized a focus on traditional Korean dances. Lee Ae-ju (李愛珠, 1947-), who in turn inherited the school of thought from Han Young-sook, took the view that it was through dance training that the mind and soul could have release towards full realization of the human nature. She emphasized the training that all of the body's energy sprang from the lower abdomen to introspect within oneself and served as the foundation for all Korean traditional songs and dance.

The purpose of this study is to investigate the dance life history of Jeong Jae-man (鄭在晩, 1948-2014) based on the documents. This study was to lay the foundation for future studies in order to overcome the limitations of insufficient historical data on Jeong Jae-man's dance due to his sudden death and the lack of theoretical background for posthumous studies on his dance. The data used for this study was collected from research data, media articles, interviews and other materials, the research method was studied by classifying chronological order in the total form, which is the method of text analysis in the study of living history. As a result, the dance life history of Jeong Jae-man was divided into five categories: the first period ‘Growth’, the second period ‘Activity’, the third period ‘Career-Building' and the fourth period of ‘Handing down', and the fifth period of ‘Transmission'. The study is expected to provide useful academic data to his junior colleagues who preserve and transfer his dance and to serve as an evaluation reference in analyzing the historical flow of intangible culture. The study is expected to provide useful academic data to younger generation of students who suceeed and preserve and his dance and to serve as an evaluation reference in analyzing the historical trend of flow of intangible cultural assets.