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This study conducted on the forms and streams of dance art in South and North Korea has come to emphasize South Korea’s and North Korea’s dance art having the same background of origin and the situational change and separation of artistic forms of Korean dance art divided as separate systems from the absorbing period of new cultures under the Japanese rule(1910-1945) when the staging of dance began to be pursued.
In South Korea where staging and dance art became diversified in accordance with the absorption of new and foreign dances in the 1950s, dance art has been pursued toward art-oriented enjoyment of dances any one of its citizens can choose and appreciate of his own free will.
Meanwhile, in North Korea which received Chinese and Russian ethinic dances and ballet styles, through simplification of dance art based on the Kim Il sung’s Chuche(identity) Theory, dance art has been developed into a clearly purpose-oriented form.
Although direct interchange with people was pursued by dance art both in South and North Korea, the people of South Korea could choose an opportunity to appreciate it of their own free will while those of North Korea were given an intended opportunity to appreciate it by their absolute ruler to emphasize effective national publicity.
In conclusion, South and North Korean dance art works can be mentioned as follows.
South Korean dance art works have the following characters:
Choreographers’ autonomy has been guaranteed as much as possible ;
Dance from have been classified into various genres of Korean and foreign dance as well as traditional and created works;
Dance works have been applied in various ways according to their characteristics with regard to the size of theatrical facilities and selection of music.
North Korean dance art works, on the other hand, have the characteristics :
Choreographers’ autonomous expression of their will has been impossible as themes are selected on the basis of idolatorus praise of its absolute ruler and his intentions;
Dance techniques through realistic expression have been used after absorption of foreign dances such as Chinese folk dance and russian ballets;
As for the size of dance, performance at large theaters is preferred and the combined techniques of music, songs and dances are used in order to attain their revolutionary and denagogic goals.

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