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This article studies the possibility of a Christian theology of dance, especially in relation with the Korean aesthetic values of "han(恨)," "heung(興)," and "musim(無心)." After investigating the origin of art and dance from archaeological and phenomenological perspectives, it offers a synopsis of various religious dances in the Christian tradition. The main part of the essay develops a cultural theological reading of the Bongsan mask dance in Korean cultural heritage. The following threefold typology of "han," "heung," and "musim" is suggested as a theology of Korean mask dance. (1) The aesthetic consciousness of the Korean people mainly consists of the three dominant values of "han," "heung," and "musim." (2) The aesthetics of "han" is closely related to Confucianism, the aesthetics of "heung" to Shamanism, and the aesthetics of "musim" to Buddhism and Daoism. (3) In the Korean church the experience of "han" has made possible the Christian social movement on the left, the experience of "heung" the passionate revival movement on the right, and the experience of "musim" the intellectual mysticism on the middle. (4) Theologically speaking, the aesthetics of "han" offers the basic structure and language of minjung theology, the aesthetics of "heung" that of evangelical theology, and the aesthetics of "musim" cultural theology. (5) Christologically speaking, the beauty of "han" is symbolized in an anonymous Christ figure of Chipali(취발이), the beauty of "heung" in Maltugi(말뚝이), the beauty of "musim" in Miyal Halmi(미얄할미).
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