• 한국체육학회지인문사회과학편
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• v.55 no.6
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• pp.625-641
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• 2016

The purpose of this study was to establish unified standards on the scope of protection of choreographic works and to suggest methods for the protection of choreography copyright. 20 experts was selected among dance experts or copyright experts and depth interview method, Delphi method and AHP analysis were used. The result was summarized as follows : First, 50 percents of the experts thought pure dance works and popular dance works should be protected by same standard, while 45 percents of the experts suggested different standard. Second, 55 percents of the experts claimed required fixation on certain medium, while 40 percents did not claim required fixation but only expression. Requirement of originality was to independently create choreography and to reflect creative characteristic(65%). 70 percents of experts were positive on defining dance choreography as independent work, while 25 percents were negative. Elements of the choreography protection scope were in following order of importance: pattern of movement, creative and concrete plot, combination of movements and steps, and movement pattern with specific space. Third, methods for the protection of dance copyright in hierarchical classification were in following order of importance : 'copyright education', 'activation of organization of dance copyright trust management', 'choreography registration' and 'inducement of social concern. Fourth, 'Active participation of dance copyright trust management organization' was thought as the most important development plan. 'Improvement of dancers' awareness of copyright', 'inducement of choreography registration', and 'reinforcement of copyright education' followed in order.

• Trans-
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• v.2
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• pp.1-38
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• 2017

Dance, as an art which expresses thoughts and emotions by movement human, is included in work that its copyright has to be protected, choreographers who are creators and dancers who are performing can exercise their rights included in copyright laws. However, artists who work in the dancing scene have lack of awareness about copyrights and the application level is low. The purpose of this thesis is to look into the current status and issues about dance copyright and to discuss activation plans and effectiveness plans for dance copyrights. The main point is to check into the level of awareness for dance copyrights with choreographers, dancers and students majoring in dance who are in charge of the art of dancing, to present issues about the necessity of the dance copyrights protection plans by analyzing interviews-in-depth and to prepare the dance copyrights protection plans which are concretely realistic. For the research methods, first, I looked into ideas and contents about copyrights through a document research and then, wanted to prepare theoretical background by reviewing actual cases of performing art copyrights related to dance. Next, I carried out surveys about awareness of copyrights with students majoring in dance, choreographers and dancers then carried out analysis of actual proof. Also, I chose three famous dancers who are actively performing in the current dancing scene and did interviews-in-depth about dance copyrights then carried out a recording analysis. I tried to complement the analysis by discussing deeper which I couldn't deal with in the previous surveys and to contemplate awareness activation of dance copyrights and plans. As a result of the research, the level of the awareness about dance copyrights through age, major, education and career was very low. The level of awareness was almost same compared to the previous research 10 years ago. 'Music', which can be an element of copyright issue in dance, was the highest in rate, and dance was recognized as an art which is combined with various elements as a combination work. The way of protection for works of choreography and performance only used data preservation and contracts and didn't register copyrights or record in dace notation. Majority of responders answered that they couldn't have any education about copyrights while they were recognizing the necessity of education and management for copyrights. The analysis of interviews-in-depth was also matched to the result of the previous surveys and a deeper discussion about the status of dance copyrights and issues was carried out. The plans of effectiveness for dance copyrights through the result of previous research are as followings. First, an advanced education is necessary above all to increase the awareness and application of copyrights in dancing scene. Long-term education like study curriculums and short-term education like special courses and seminars should be combined, and education about copyrights for dance groups, choreographers, dancers and students majoring in dance should keep on going. Second, revision of performing art works is necessary for the activation of dance copyrights, and establishing a dance copyright association to manage copyrights systematically and training dance copyright experts are necessary as well. Third, as the way of copyright protection for choreographers and dancers, an establishment for relation gain and loss about copyrights is necessary when creating dance works and performing, and registration of dance works should be activated. Also, the dancing scene should sign contracts for choreography and performance and this contract culture should be activated, and it should systematically preserve and manage choreography and performance records through basic ways. Hereby, it is considered to prepare a foundation to foster the awareness of dance copyrights and activate dance copyrights.