Having lived as one people over 5,000 years, we Koreans had kept the tradition on the foundation of our own language and wonderful culture until the national division. When we became free from the Japanese colonialism, our nation happened to be divided into two. Then each different ideology was introduced to South korea and North Korea, and the two Koreas began to develop differentiations of their cultures under the different systems and constitutions. Now it is difficult to see the beautiful unified culture and arts, which had flowered throughout the long history of our nation. Since the national division, the purposes of the literary policy in North Korea have included the followings : realization and glorification of the policies of the communist party ; reconstnaction of the people on the policies ; labor mobilization ; stirring up their will to work ; education of political though t ; and idealization of Kimell Sung, but have excluded the followings : creation of beauty ; pursuit of value ; expression of personality ; emotional activity ; independence ; individual liberal mind ; and conception of desire, etc. The North Korean literature and art put emphases on the socialist, realist method of creation as a rule of party, class, people, not on desire for liberal creation and emotion and personality. The literary and art work in North Korea is defined as contributing to the revolution of laborers and the classification of labors. The subject matters of dances are limited to realistic, revolutionary, constructional, communist heros. Consequently, in the North Koreans` dance work, only the communist party`s policies can be described as a project planned under the control of the party, which follows Kim Il Sung`s words. The communist polices and ideology can be grasped in the works of "Azaleas of our Nation" and "Winnow Dance," from the titles of which we can easily read their messages, contents and subject matters, and also in the well-known work of "A Girl Who Sells Flowers," The purge of Seunghee Choi, dancer who were gone to North Korea over the border, and who were praised as one of the best dancers among her contemporaries, may have resulted from her disagreement with the communist party`s political line. Behind the standard for beauty and value of arts exist other standards, such as what an art work pursues, if it stirs up people, and if it follows the communist party`s policy. As a result, there inevitably exist differences in criteria for value between the South Korean art and the North Korean art. Hoping to make good progress on exchanges between the South and the North Korean arts, we will give our views on the types of dance art in North Korea, which have gone through some changes. First, the value of dance art in South Korea has experienced the same fate as other things in South Korea. In other words, as international activities and cutting-edge sciences are in the spotlight of mass media, the national culture will gradually lose people`s interest until it reaches a certain level. On the contrary, North Korea, while taking a task to overcome years of isolation, is forced to put more stresses on the national culture, in order to emphasize her culture`s differentiation from the South Korean culture. Some evidences are seen in North Korea`s reflection of Koguryo`s vitality on dances, his recent restoration of Tan-gun`s tomb and his interest in exhumation of Tan-gun`s body. Secondly, as the South Korean` curiosity on the closed North Korean dance art is growing, thanks to exchanges and cautious contacts, North Korea may criticize all the capitalist market economy and society and culture, etc., in order to prepare for opening doors. In other words, North Korea may ideologically critiaze the subject matters of dances and the value of art in the capitalist culture of South Korea. Thirdly, North Korea is trying to keep the policy that puts more stresses on superiority and self-respect as well as legitimacy of the na