Dance of Intangible Cultural Property Based on Performing Arts Component

The purpose of this study is to examine the current status of intangible cultural heritage dances and suggest the development direction of intangible cultural heritage dance based on the elements of performing arts. The key word of Intangible Cultural Property Act has changed from a prototype to a typical one in 2016. Thus, the taxidermized and standardized intangible cultural property dance by prototheory has maintained the basic principles of dance structure and changed as a dance which sharing and communicating with local people.The reason is that the intangible cultural heritage dance does not sharing or communicating with audience and conducts as a feast by performer only. The basic idea which is that why the intangible cultural heritage dance is not sharing with audience is the beginning of this study. There are several main causes why the cultural heritage dance has been changed as conducting by performer only. The discussion of this study has focussed based on the three components of performing art with the first intention.The chapter two is consisted with a designated status of the cultural heritage dance area. There are 41 cultural heritage dance areas such as 7 National Intangible Cultural Heritage Property and 34 City or Province Designated Heritage. The 7 National Intangible Cultural Heritage Property has designated before 1990, and the 10 out of 34 City or Province Designated Heritage has designated before 21 century and 24 out of 34 has designated after 21 century. This trend indicated that the cultural heritage dance area has developed in 21 century by the local government. However, the audience of most of the cultural heritage dance area is the performer or the performer-related people only. This is the weak situation of communicating with the ordinary people. The chapter three is consisted with the analysis and problems of the performing art components based on the performer, space of dance, and audience. The chapter four suggests a better vitalized plan to overcome the limitation of the cultural heritage dance area has drawed from the chapter three.