This study analyzes the internal meaning and form of dance movement in the traditional Korean Bongsan Masked Dance using Semiotic, and has the objective of applying this analysis to Metal Art Works. Bongsan Masked Dance is a traditional theater that r... This study analyzes the internal meaning and form of dance movement in the traditional Korean Bongsan Masked Dance using Semiotic, and has the objective of applying this analysis to Metal Art Works. Bongsan Masked Dance is a traditional theater that reflects the social reality and commoner’s thinking of the late Joseon Dynasty, and this was selected as a topic of research due to the researcher’s fascination with the dance movement that reflect the ideologies of the time and the background of the times. Research on Metal Art Works that focus on Korean culture up to now have attempted to examine this area by directly applying the external image of the culture to approach this study through patterns. The researcher of this research attempts to provide a diverse direction for research areas that cannot be approached from a restricted form, such as non-tangible cultural assets and research on Metal Art Works from the perspective of Bongsan Masked Dance. Precedent research on the area of dance that was analyzed through a semiological approach on Korean dance provides a framework to overcome the limitations that non-tangile records inherently have and the researcher, by seismologically analyzing and determining the internal periodical meaning in the dance movements of Bongsan Masked Dance, asserts that there is significance in applying this to Metal Art Works. This research is made up of 5 sections from the introduction in section I to the conclusion and section V and the research process was as follows. In section I through examination of precedent research and acknowledgement of problems of Metal Art Works research that focuses on culture, the need for the research and the scope are defined. Through the implementation of Semiotic methods in this research, a direction for research on Metal Art Works with a focus on Bongsan Masked Dance is presented. In section II through general examination of Bongsan Masked Dance, or in other words through the understanding of the harmony, fun and joy, and the integrated expressive forms internal to Korean traditional dance, by summarizing the structure of each of the dancing grounds and dance movement the characteristics of Bongsan Masked Dance are analyzed. In section III, by applying the three-part triadic model of Charles Sanders Peirce and the Semiotic communication model of Thomas Sebeok to the dance movements of Bongsan Masked Dance, Semiotic analysis is conducted. For the comprehensive research on Metal Art Works 7 types of basic movement in Bongsan Masked Dance based on physical structure are analyzed and the ‘boolim’ movement is understood with a substituted Korean aesthetic perspective. In section IV is research on Metal Art Works through Semiotic analysis. The research examines the possibility by applying the research analysis of the Semiotic analysis of Bongsan Masked Dance dance movements to Metal Art Works. This process has the objective of not being limited to the Semioticl analysis of the non-tangible cultural element that is dance movement, but has the objective of achieving Metal Art Works. Research on Metal Art is approached from two perspectives, and the first is on the movement structure of dance movements. The dance movement structures that almost seem to be connected by one line are designed through pipe manipulation and the Rhino program, and after outputting the results from the Rhino program, the result is post-processing using casting. This is a research on Wearable Craft. The second perspective that research on Metal Art is approached with is an examination on space, and by capturing the movement of Bongsan Masked Dance dance movements, they are expressed in lines and the corresponding 3D space is freely expressed through video media using After Effects. Through this research study, the non-tangible Bongsan Masked Dance dance movements were categorized into upper, middle and lower structure of the human body for Semiotic analysis, and the dance movements were made tangible through iconographical interpretation. Because it was discovered through the process of Semiotic analysis that Bongsan Masked Dance dance movements have internal elements of the ideologies and periodical backgrounds of Korean aesthetics, Bongsan Masked Dance dance movements were newly viewed as not just simple dance movements but as cultural symbolisms of Korea. The Metal Art Works research was also expressed in the forms of jewelry and objects and even through video media, and by varying the thickness of the metal piping, an the inhaling and exhaling motions of the dance movements were emphasized. Also through the overlapping of lines, the spatial dimensions were explored and by focusing on the 5 characterstics colors of Bongsan Masked Dance, it was attempted to expand the scope of the research on Metal Art Works. Keywords: Bongsan Masked Dance, dance movement, movement structure, Semiotic, exploration of space, wearable craft
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