무용의 사회적 개념 연구 -공동체무용과 교육의 관계-

한혜리 ( Hea Ree Han ) 한국무용교육학회 2011 韓國舞踊敎育學會誌 Vol.22 No.1

This study is aimed at exploring social concept in dance in the way of responding to the question of what dance should be for the society we aspire. The concept and the range of community, and the meaning of community dance and the relationship between the community education and dance were proposed to identify the relationship between the dance and community. The theoretical background of this study are the social perspective of Chuang tzu, Hsun-tzu and Confucian scholars in our country, and the methodological models of community dance in this study are the theory of Vinova Bhave(1986) and the research reports of Rudidge S.(1984), Thompson C.(1994), Tomkins A. & Brinson P.(1995) on community dance. The community in this study is that of interactive and interdependent symmetrical relationship rather than influential relationship, and following are the identity of community dance that proposed as the conclusion. · Community dance should be experienced as a form of integrated arts with its unseparated components which are the sensuous cognition, symbolization to realize imagination, and mutual communication to be free from the boundary drawing of social order that triggers power and hierarchy. · Community dance should enable mutual communication between groups. · Community dance should aim for the development of overall ability of individuals and groups. · Community dance has to be an education aiming heuristic knowledge for the creation of perfect community of symmetrical relationship which prevents outer power from exercising dominion over some people or prevents the same people from wielding influence over other people or things.

커뮤니티댄스의 문화예술교육적 실천 전략 연구

황정옥 ( Jeong Ok Hwang ) 한국무용교육학회 2012 韓國舞踊敎育學會誌 Vol.23 No.2

The study has paid attention to paradigm shift in arts and cultural education that was suggested as a way to overcome issues associated with particular values in modernism and at the same time, the study attempted to identify changes in arts and cultural education in an effort to expand the scope to include community of practice by exploring what community and communality actually stands for. It also explored that community dance, as a measure to act on arts and cultural education based on participation and practice, is closely tied to destinations of community and dance as they share a lot in common including interaction with each other and pursuit of non-competitive teaching. Community dance, as a strategic tool to practice arts and cultural education needs to stay open to all member of society and needs to contribute more to accommodating the social approaches to reach out for those socially and politically isolated. With the understanding, the study has outlined strategies as follows to perform educational practices while keeping the framework of arts as it is with an aim to restore public function of arts and contribute to community living. ·It should go further to expand the scope of communities that dance education has been targeting in traditional arts and cultural education to encounter and go into diversified communities in various nature. ·It should establish robust network before implementing community dance program and this requires deep understanding on partnerships. ·A partnership is a way to build and practice networking and it takes resources to build a partnership. So it is essential to conduct a pre-research on resources required to practice community dance. ·Building systematic network among participants of community dance with various backgrounds needs to be led and facilitated by Dance Animateur. ·Dance Animateur, the practitioner of community dance should take lead in creating, organizing and connecting. ·Program design starts from paying attention to common interest, value and issues of community but it should take time to consider and decide whether to accept the demand of community unconditionally. ·Program should persue shared objectives that are planned and organized based on debates from the community and should introduce dance in various formats and nature as it should be coordinated with needs and nature of participants. ·Dance in the form of arts to be the contents of community dance should sustain sense, symbolization and communication and participants can experience and practice genuine arts only when these principles are secured.

커뮤니티 댄스를 통해 형성되는 라포 탐색 : 척도 개발을 중심으로

김선희(Kim, Sun-Hee),이지환(Lee, Ji-Hwan),정아람(Jung, A-Lam) 한국체육과학회 2020 한국체육과학회지 Vol.29 No.2

The purpose of this study was to identify the concept of composition of the rapport formed through community dance and to develop measures to measure the value of community dance to the rapport formation. The results of the study are as follows: A total of 55 preformed content items were extracted through open questionnaires. And 39 preliminary surveys of 55 items that were closed questionnaires. Finally, the contents of 39 community dancing rappas were classified into 5 categories. “Positive Thinking”, “Community Relations”, “Stable Psychology”, “Positive Relationship with Others”, and “Overcoming Loneliness” were classified into 5 categories. The significance of building intimacy in community dance is to develop community dance activities that are well felt, well expressed, well enlightened, between community dance leaders, participants and among participants. It also has a positive effect on strengthening community dance solidarity. In community dancing, rapport formation has a positive effect on developing community dance activities. And it will be able to promote the community dance by effectively utilizing the formation of rapport of this community dance. That is, the characteristics of these identified participants can provide opportunities for community dance leaders to help improve the quality of relationships among community dance participants and improve the quality of life for each participant. It will contribute to a better community by directly linking all of the personal, social and public values gained through local dance from the results of this study.

한국 커뮤니티 댄스의 새로운 가치 분류를 위한 시론

전예화 ( Jeon Yehwa ) 무용역사기록학회 2016 무용역사기록학 Vol.41 No.-

이 연구는 현재 진행되고 있는 커뮤니티 댄스의 형태를 성격별로 분류하고 그 내용을 살피는데 목적을 둔다. 이러한 분류작업을 통해 한국에서 진행되고 있는 커뮤니티 댄스를 새롭게 분류함으로써 커뮤니티 댄스가 갖고 있는 의미와 그 가치를 논하고자 한다. 커뮤니티 댄스는 무용교육을 바탕으로 신체를 통해 타인과의 교류, 새로운 자신의 발견과 신체를 통한 자신감을 얻는 활동이자 사회적 공통분모가 소통하고 정보통신 기술발달로 인한 인간의 소통 단절을 춤으로 교류 하는 것이다. 한국에서의 커뮤니티 댄스는 일반인들이 춤을 통해 즐거움과 치유 그리고 타인과의 교류하는 활동에서 교육적 측면을 지닌 프로그램들까지 여러 시각으로 진행되고 있다. 이러한 커뮤니티 댄스를 네 가지 형태로 분류하였다. 첫째, 공연 지향의 커뮤니티 댄스는 참여하는 공동체가`함께`라는 의식을 공유하며 생산물을 만들어 내는 행위에 바탕을 두면서 무대공연에 대중이 참여하여 새로운 의미를 창출하였다. 또한 다양한 세대와 만남을 통해 계층의 시대정신을 구현하면서 예술성을 확보하였다. 커뮤니티 댄스 활동을 확산시키고 춤추는 일반인들과 전문무용수의 거리를 좁혔다는 점 그리고 공연을 지향하여 작품의 완성도를 높였다는 점에서 특징을 지닌다. 둘째, 지역 중심의 커뮤니티 댄스는 그 지역의 문화의 정체성을 춤을 통해 공유하며 커뮤니티 댄스를 통해 다른 커뮤니티를 재생산하였다. 이는 지역민들을 위한 춤이자 지역을 기반으로 두는 활동으로 그 지역만이 갖고 있는 특징과 그 지역민들의 스토리텔링을 찾아 낼 수 있다. 셋째, 불특정 다수의 참여 커뮤니티 댄스는 누구나 참여할 수 있는 커뮤니티 댄스로 세대 간의 교류의 장으로 불특정 다수가 참여하는 커뮤니티 댄스이다. 그 동안 각기 다르게 정의 되고 있는 커뮤니티댄스를 집약하고 있으며, 같은 생각을 하고 한데 모여 있는 커뮤니티가 춤을 통해 집결되어 있다. 넷째, 무용교육의 커뮤니티 댄스는 무용교육의 일환이자 사람과 사람이 춤을 통해 소통하는 장소로서 여러 대상에게 무용교육을 통해 자기표현 능력의 향상과 자신감 및 창의적인 사고에 긍정적인 효과를 주고 문화예술을 향유하는 것이다. The current study seeks to provide and examine a new value classification of community dance. Community dance, which is based on dance education, is an act of interacting with others, discovering oneself, and gaining confidence through physical movements. It also represents communication based on social common denominators and the restoration of interactions that were cut off by the advancement of information and communication technologies. Community dance in Korea is utilized in various ways: it is an activity for people to engage in for pleasure, to improve their health, to interact with others, and to learn new things. Community dance may be classified in the following categories. First, community dance as performance focuses on producing outputs with a sense of the community being together. It generates new meaning as members of the public take part in stage performances. In addition, it attains artistic value by expressing the zeitgeist through the interactions with various generations. Community dance as performance is distinct because it popularizes community dance, bringing professional choreographers and laypersons together. It also gives an enhanced sense of completeness with its orientation as performance. Second, community-centered dance uses dance to share the cultural identity of a community and can be reproduced by different communities. As a dance centered on the community, it can present the unique features of a community and tell the stories of the people of the community. Third, community dance for unspecified groups of people is a dance in which anyone can participate. It provides opportunities for different generations to interact with one another. This category includes various community dances that bring together like-minded communities through dance. Fourth, community dance as dance education provides an opportunity for people to dance and learn together. It helps people express themselves better, gain self-confidence, think creatively, and enjoy art and culture.

무용의 공공성: 국내 커뮤니티 댄스 사례를 중심으로

김재리 ( Jae Lee Kim ) 한국무용기록학회 2014 무용역사기록학 Vol.32 No.-

본 연구는 최근 국내 무용 현장에서 활발하게 진행되는 커뮤니티 댄스(community dance) 활동을 살펴보고, 커뮤니티 댄스의 확장이 현대사회에서 갖는 의미와 가치를 규명하여 무용이 지니는 공공성을 밝히는 것에 목적을 둔다. 커뮤니티 댄스는 지역, 계층, 취향 등으로 조직된 공동체를 기반으로 한 시민들의 무용 활동으로, 최근 다문화주의와 다원주의의 경향 아래 확장되고 있는 공동체 예술(community arts)의 한 분야이다. 커뮤니티 댄스는 과거 무용이 주로 예술가에 의해 창작되고 관객은 이를 수용하는 이분법적인 관계를 넘어 예술가에서 시민으로 예술의 주체가 변화되고 있는 것을 반증한다. 이처럼 예술가 개인의 사적 영역에서 이루어지던 예술은 이제 모든 사회 구성원들이 행위하고 소통하며 모두에게 열려있는 공간, 즉 공공 영역(Public sphere)으로 옮겨가고 있다. 따라서 21세기 무용의 현상을 이해하고 해석하기 위해서는 공공 영역에서 나타나는 무용에 대한 논의가 전개되어야 한다. 본고에서는 무용의 공공성을 밝히기 위해 먼저 공공성과 커뮤니티 댄스에 대한 이론적 논의를 통해 본 연구의 관점을 제시했다. 무용에서의 공공성은 기존 연구에서 드물게 다루어졌으므로 사회학, 정치학 및 예술 등 관련 학문의 이론을 고찰했으며, 하나 아렌트(Hannah Arendt)의 이론을 중심으로 논의했다. 아렌트의 인간 행위의 본질을 통한 공공성에 대한 천착은 본 연구에서 커뮤니티 댄스의 다양한 층위를 읽어내고 의미를 해석할 때 중요한 단서를 제공한다. 그리고 무용 현장에서 포착되는 실제적인 측면을 살피기 위해 현장연구를 실시했다. 사전 연구를 통해 국내 커뮤니티 댄스 조직을 공공기관 주도형, 전문단체 주도형, 축제 주도형으로 분류했으며, 각 유형의 커뮤니티 댄스 총 네 팀을 선정하여 현장에 진입했다. 연구방법은 면담과 관찰 방법을 사용했다. 면담방법은 공공성의 주제에 관련된 반구조화된 면담과 시간과 장소에 상관없이 질문하는 자유로운 면담을 수행했다. 또한, 관찰의 방법은 현장에서 구성원들의 무용 활동과 소통 및 관계 맺기의 방법 등 무용 맥락의 전 과정을 살피고 이를 기록하는 안무학적 관찰 방법(choreological observation)을 사용했다. 위와 같은 연구방법을 통해 얻은 결과로서 무용의 공공성은 네 가지 측면에서 논의될 수 있다. 첫째, 무용의 정치화이다. 커뮤니티 댄스는 공동체를 통해 자신을 드러내고 타인과 ‘공동’의 목소리를 내는 본래적 의미에서 정치와 관련 있다. 자유와 평등이 보장되는 무용 활동을 통해, 시민들은 자신의 속한 사회에서 의미 생성의 주체가 될 수 있다. 둘째, 다원성에 기반을 둔 무용의 정체성 탐구 및 미학적 판단이다. 커뮤니티 댄스는 공동체의 환경과 밀접하게 관계를 맺고 있으며 예술이 현실로 이동하면서 나타나는 컨템포러리 댄스의 미학적 성격을 지닌 것으로 볼 수 있다. 셋째, 무용의 공공영역이다. 시민이 창작의 중심에 있는 것이 커뮤니티 댄스의 가장 큰 특징이며, 무용의 공공영역에서 시민들은 자유로운 소통과 공감을 할 수 있다. 넷째, 국가 지원의 당위성이다. 국내 대부분의 커뮤니티 댄스가 국가 보조금 지원에 의존하고 있다. 국가가 지향하는 문화정책의 방향은 커뮤니티 댄스의 성격과 정체성에 영향을 미친다. 국가의 역할은 국가가 원하는 방식의 예술 생산을 지지하기 보다는 시민 성장에 기여하는 것에 있다. 본 연구를 통해 새로운 패러다임으로 변화하는 무용 현상을 해석할 수 있는 관점을 제시하고, 모든 시민이 무용의 주체가 되는 평등하고 본질적인 측면에서 무용에 대한 논의를 확대하고자 했다. 또한, 커뮤니티 댄스의 사회적 기능이나, 공익, 그리고 공론의 장으로서의 역할에 대해 논의하여 국가 지원의 당위성을 확립하는 것에 본 연구의 의의가 있다. This study is aimed to look at the activities of Community Dance, which is briskly conducted in the Korean dance field. Also, the purpose is to investigate the ‘publicness’ of dance by determining the meaning and value of extension of community dance in modern society. Arts that previously took place in a private space have now moved to a public sphere. For understanding dances in the 21st century, a discussion on the public sphere of dance needs to develop. Therefore this study discussed the ‘publicness’, which is the meanings and values formed in the public sphere of dance. For these aims, the study completed literary reviews that focused on the concepts of ‘publicness’ and community dance. ‘Publicness’ has rarely been discussed in the field of dance; therefore, this study tried to present its own view on this concept by examining the theories in other academic fields. This trial is related to the main theories of Hannah Arendt about ‘publicness’. Then the study carried out fieldwork to investigate the practices of dance while trying to go further beyond the theoretical debates. The study divided the community dance groups into 3 types, such as government-led, dance festival organization-led and research lab-led. Then the researchers selected 4 cases by carrying out the preliminary research. The research methods used for the study were interviews and observation. Semi-structured interviews relating to the concepts of ‘publicness’ were performed and open-ended interviews in which participants could talk and ask questions freely were also performed. Lastly, choreological observation was used. It is an observational method that the whole processes and contexts of dance. Consequently the ‘publicness’ of dance can be discussed in the following four aspects. First, there is a politicization of dance. Community dance is related to politics in the context that people reveal their own thoughts and make a common voice with other people. Through participating in dance activities, which secure liberty and equality, people can make meanings in the society that they belong to. Second, it is an investigation of identity through dance and aesthetic judgement. Community dance is a new dance form that appeared when the arts were moving into the real world. It has characteristics of contemporary dances. Third is public sphere of dance. The most distinct characteristic of community dance is that the people stand in the center of creative activities. People can communicate freely and sympathize with others in the field of public opinion. Fourth is the necessity of government supports. Most community dance groups depend on government subsidy. Cultural policies of government strongly influence the characteristics and identities of community dance. Therefore, the role of government is not to support to solely produce art works which the government wants, but to support the growth of citizens` awareness through strengthening cultural and artistic abilities of the people. This study planned to present the view that is changing into a new social paradigm of pluralism and multiculturalism. Through discussing the social roles and public interests of community dance and its role in the field of public opinion, this study tried to establish the role that government subsidies play in community dance.

주민복지를 위한 지역사회무용의 역할과 활성화 방안

김영미 한국무용과학회 2011 한국무용과학회지 Vol.25 No.-

The purpose of this study was to suggest the roles and activation plan of community dance for citizens' welfare. For the purpose, understandings of the concept and roles of community dance were accomplished, and then the actual conditions of community dance were analyzed through literature reviews. And compare to present conditions of Korea community dance and foreign community dance. Proposals to activate the community dance for citizens' welfare were suggested such as followings:First, there is need to inform widely social positive function and the value of community dance. Second, there is need to supply other program such as volunteer activity and community festival for prevention of alienation within community dance. Third, there is need of various development of community dance programs. Forth, there is need to build new facilities and use existing facilities for community dance. Fifth, there is need to expand community dance club to supply dancing to various class. Sixth, there is need of cultivation and placement of certificated instructors for community dance. Seventh, there is need to establish organization for community dance. 이 연구의 목적은 지역주민의 복지를 위한 지역사회무용의 개념과 역할을 정립하고 지역사회무용 활성화를 위한 방안을 모색하고자 하였다. 이를 위해 문헌고찰을 통해 지역사회무용의 개념과 주민복지를 위한 무용의 역할이 무엇인지를 살펴보고, 현 한국의 지역사회무용과 외국의 지역사회무용 현황을 비교 분석하였다. 그 결과 지역주민의 복지를 위한 차원에서 지역사회무용을 활성화시키기 위한 방안을 다음과 같이 제시하였다. 첫째, 지역사회무용이 사회적 지지와 참여를 얻기 위해서는 우선적으로 지역사회무용의 가치 확산을 위해 무용의 사회적 순기능에 대한 인식과 홍보가 필요하다. 둘째, 지역사회무용에서의 소외를 방지하기 위해 무용과 관련 없는 지역사회를 위한 봉사활동이나 지역축제의 참가 등 다양한 다른 프로그램을 제공한다. 셋째, 아동에서 노인에 이르기까지 연령과 성별에 따른 관심과 능력 수준에 맞는 다양한 지역사회무용 프로그램의 개발과 보급이 필요하다. 넷째, 지역사회무용을 위한 시설 확충으로 새로운 시설의 마련뿐 아니라 지역사회 클럽들 간의 협의를 통해 상호간 소유하고 있는 기존시설을 효율적으로 이용한다. 다섯째, 지역사회 내 무용을 여러 계층에게 보급하기 위해서는 비 영리단체인 무용 동호회 활동을 활성화시켜 저변을 확대시킨다. 여섯째, 수준 높은 지역사회무용 무용전문가 양성과 효율적 배치가 필요하다. 일곱째, 지역사회무용 전반을 계획하고 운영, 감독할 수 있는 전담기구의 설치가 필요하다.

생태환경 사회 커뮤니티댄스에서 공동체와 전인교육의 의미

한혜리 ( Hea Ree Han ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.4

This study defined the contemporary society after the industrial society as the ecological environment society and examined the meaning of whole-minded education of community dance, which is a community dance program of the contemporary era. It particularly discussed the community awareness of community dance and its educational function in terms of the contemporary awareness. The following summarizes the findings of this study as to how individual potentials can have public value in the anthropological society and connect to the anthropological society through the social participation of community dance. First, community dance in the ecological environment society refers to the contemporary community dance where equality means tolerating other things in the global environment. Second, community dance is one of the methods of productive reciprocation between the communities with the awareness to remove the authorities, intimidation, and isolation of groups born from the unbalanced and asymmetrical hierarchies of urban industrial society and replace them with tolerance and empathy. Third, the essence of community dance is the development of self-expression skills and the goal of whole-minded education is senses, self-esteem, and creative thinking from the process of experiencing community dance. Fourth, community dance based on individual communities comprehends individual history within the history and symmetrical structure of groups (people, nation, etc). The essence of contemporary community dance is the participation in the ecological environmental society that comprehends the dualism of knowledge and culture, education and experience, and reason and sense through integration, not through crossing or confrontation.

무용참여에서 공공 장소의 기능과 공동체 돌봄의 의미

황정옥 한국무용교육학회 2022 韓國舞踊敎育學會誌 Vol.33 No.3

The purpose of this study is to analyze the value of care that has been changed in the social system and consider the meaning of community care internalized in community dance. Therefore, based on the characteristics of participation in dance and the accessibility of community dance, this researcher considered the communal meaning of community dance in the public place through relations between social care and the public place. This study begins with the discussion that if the accessibility of community dance is the function of care as an institutionalized social service, participants’ dance behavior (participation in dance) is characterized as community care and the communal function of community dance has roles as social care, and its contents are as written below. The experience of participating in dance implies the alternative characteristics of social care. It is because they imagine a different kind of system and order with self-reflective attitudes within their lives shared through participation in dance and the potential of community dance to promote transition has roles as community care. The institutional accessibility of community dance is in line with the physical function of the public place, and the experience of participation works as empathy at this time. Participation in dance at the place where various relationships coexist forms an intimate community as a stable network to recognize codependent relationships at the equal position where individuality is not damaged at all. Dance in the system of community dance is characterized as community care, and community dance is associated with the social system with the function of community care.

도서연안지역 민요공동체의 성격과 민요의 연행양상

홍순일 한국민요학회 2008 한국민요학 Vol.22 No.-

This study leads an in-depth argument of characteristics of folksongs community and aspect of folksongs in the islands/coastal regions through positive practices from the view point on the performance theory. The first issue discussed is ‘the characteristics of folksongs community in islands/costal regions.’ In characteristics, folksongs community in islands/costal regions has taken its purpose in realizing enthusiasm of inhabitants in folksongs community in islands/costal regions, and transmitted with folksongs in islands regions. The view point is known as “the viewpoint of Yeolji, or delight,” which means that the delightful and pleasant talks can produce poems, songs and dances. The methodology is the fusion of a poem, a song, and a dance, which means that a poem should transmit to a song, and song to a dance. And an amusement (play) factor is added into them in the serial form. Further, the focal point is to materialization of the community delight, which indicates that the Sori-cultural device is activated for the communication between residents, and the network device is operated for openness between communities. The second issued discussed in the study is ‘the performance aspect of folksongs in islands/costal regions.’ The folksongs in the regions show the performance aspect by which they expand the practical possibility based on a poem-song-dance fusion when the inhabitants realize the folksongs in the communities of the regions. Namely, the performance aspect of folksongs in the islands regions is to combine firstly a poem and a song, secondly a poem-song and a dance and finally a poem-song-dance and play. At the same time, the delight is pursued through inter-community transmission. The third topic is ‘the significance of folksongs performance in the folksongs community of the islands/coastal regions.’ The inhabitants of islands/coastal regions are realizing islands spirits and establishing the Sori-cultural device through islands region folksongs which were combined with villages and folksongs communities. That is, the folksongs community as a mediator which realizes folksongs in the islands regions is being operated in the background of local communities in the islands/costal regions. The folksongs of islands regions not only satisfy the cultural demands of residents in the islands/coastal regions, but enable the fusion of a poem, a song and a dance with play added on it, thus finally making the exit of delight. This study leads an in-depth argument of characteristics of folksongs community and aspect of folksongs in the islands/coastal regions through positive practices from the view point on the performance theory. The first issue discussed is ‘the characteristics of folksongs community in islands/costal regions.’ In characteristics, folksongs community in islands/costal regions has taken its purpose in realizing enthusiasm of inhabitants in folksongs community in islands/costal regions, and transmitted with folksongs in islands regions. The view point is known as “the viewpoint of Yeolji, or delight,” which means that the delightful and pleasant talks can produce poems, songs and dances. The methodology is the fusion of a poem, a song, and a dance, which means that a poem should transmit to a song, and song to a dance. And an amusement (play) factor is added into them in the serial form. Further, the focal point is to materialization of the community delight, which indicates that the Sori-cultural device is activated for the communication between residents, and the network device is operated for openness between communities. The second issued discussed in the study is ‘the performance aspect of folksongs in islands/costal regions.’ The folksongs in the regions show the performance aspect by which they expand the practical possibility based on a poem-song-dance fusion when the inhabitants realize the folksongs in the communities of the regions. Namely, the performance aspect of folksongs in the islands regions is to combine firstly a poem and a song, secondly a poem-song and a dance and finally a poem-song-dance and play. At the same time, the delight is pursued through inter-community transmission. The third topic is ‘the significance of folksongs performance in the folksongs community of the islands/coastal regions.’ The inhabitants of islands/coastal regions are realizing islands spirits and establishing the Sori-cultural device through islands region folksongs which were combined with villages and folksongs communities. That is, the folksongs community as a mediator which realizes folksongs in the islands regions is being operated in the background of local communities in the islands/costal regions. The folksongs of islands regions not only satisfy the cultural demands of residents in the islands/coastal regions, but enable the fusion of a poem, a song and a dance with play added on it, thus finally making the exit of delight.

커뮤니티 아트로서 무용의 진화 -개념 및 다원화된 양상에 관한 연구-

최경희 ( Kyung Hee Choi ) 한국무용교육학회 2013 韓國舞踊敎育學會誌 Vol.24 No.2

The aim of this study is to draw conceptual definition, grasp aspects of community dance in Korea, and suggest plans of development for sustainable it. For this study, several arguments about community dance is reviewed through literature, and analyzed practice cases of it by newspaper, on-line searching. Community dance is a way of mutual communication that participants express, understand their life through the arts. It is more concerned with the process than the result. because it lays stress on the process of identifying about individual or community. Besides the process-oriented, it emphasize experience to reveal creativity, opportunities for the masses to enjoy the arts, initiative of participation, understanding of others, work together with the regional community or institution. The aspects of community dance in Korea were considered in terms of three areas. It include revitalization and unifying of a community(aim at general people like older women, teenager, mother and daughter etc), treatment and revival of a person of deviation(aim at reformatory, homeless person), improvement of the rights of the social weaker, neglected(aim at the disabled, the aged, soldiers etc). Community dance helps learner to prepare basic ability as a social member. It is possible for them to build self-esteem, cultivate communication skill, develope critical judgement, creative thinking as well as health, fitness. Furthermore, it contributes to improve social cohesion through the restoration of relations. Through all of this, I suggest the plan of development of community dance as community art. First, when researchers plan a programme, they decide a place, man to educate. And then they should diagnose and grasp needs, problems to solve exactly. It is starting point of the project and has influence on progress direction, goal, activity, method of management. Second, though various dance is used in community dance, basically, it aim at activity to reveal personal creativity, promote spontaneity. The activity means not merely acquiring skill of dance, but wide understanding for it as a part of culture & art which is intimate in life. It can be build up a cooperative relationship with the other study like music, theater, visual art, literature, history etc. Third, in order to enhance understanding of learners about the region and explore connectivity between educational space and programme, a cooperative network for mutual assistance of the local arts organizations, creative space, members of organizations is formed. Fourth, community dance in korea spread with pluralistic aspects, but the support is towards for specific participants. It is necessary for it to expand new areas which reflect demand of another vulnerable groups. finally, a consistency of supports, a variety of funding is required. In order to run a sustainable community dance, different resources should be made as corporate and private sponsors as well as public funds through the central and local government.