유네스코 무형문화유산에 등재된 한국과 일본의 무용현황

Abstract

The purpose of this study is to examine the current status and differences of Korean and Japanese dances registered in the intangible cultural heritage, with the objective of the sustainable development of dance in the face of changing values of this heritage. As a research method, a literature data research method using books and thesesregar ding the intangible cultural heritage of Korean and Japanese dance we re analyzed. Furthermore, a humanistic qualitative research method focusing on the data review research method of the Korea Cultural Heritage Administration and the Japan Cultural Agency were selected. As a limitation of the study, (We propose that) first, not only were dance items specified in the designated category, but also dances inherent in music, performances, games, ceremonies, and festivals among the intangible cultural heritages of Korea and Japan registered in the UNESCO intangible cultural heritage also were examined. Secondly, among the types of the system map of Korean cultural properties, the designated areas and categories of intangible cultural properties were examined. Meanwhile, in the system map of Japanese cultural proper ties, the designated areas and categories of folk cultural properties w ere also examined.As a result of the study, looking at the status of Korean and Japanese dances registered in the intangible cultural heritage, only Cheoyo ngmu is registered as a court dance in Korea as a single event in the intangible cultural heritage, while in Japan, the dance category is not specified separately. The two countries differ in the presence or absence of designation. And in the subcategory, as an event with dance inherent in it, the current status and differences of intangible cultural heritage registration in Korea and Japan were examined. In Korea, in the case of designated areas and categories of intangible cultural properties, there are traditional performances and arts (play, music, dance), games, and festivals. And in the case of Japan, important intangible cultural assets include plays, music, and craft techniques, and important intangible folk cultural assets include customs, customs, and folk performing arts related to faith and annual events. Rather than consisting of only dance, it is generally woven together with music, song, dance, and drama, or is composed of customs, customs, myths, and legends. Looking at the registration status of Korea's mask dance and Japan's FuryuOdori registered in 2022, it can be seen that the direction for creative sustainability development was presented. Based on this study, we can conclude that it is necessary to study the meaning and preservation value of the sustainable development of dance events that have not been registered in the intangible cultural heritage, and to seek ways to register them in the future.