The purpose of this study is to examine how Gyeonggi-do Dang-gut has influenced contemporary dances that use jinsoe as a prop and to explore the ways in which these dances have developed. As research methods, prior studies were reviewed, and video materials were analyzed. Dances that utilize jinsoe and have been inherited and developed from the lineage of Gyeonggi-do Dang-gut include Lee Yong-woo and Kim Sook-ja’s Turbulim Dance, Lee Dong-an’s Jinsoe Dance, and Jo Heung-dong’s Jinsoe Dance. This study investigates the origins, forms, and artistic characteristics of these dances, as well as their relationship to the roots of Gyeonggi-do Dodang-gut. All of these works employ the rhythmic patterns (jangdan) of Gyeonggi-do Dodang-gut and either transform actions derived from the ritual sequence of gut into performing arts or transmit them through the formalization of artistic works. Jo Heung-dong’s Jinsoe Dance is further identified as a creatively developed work grounded in tradition.

This study aims to identify and analyze the structural elements of the Dosalpuri dance by exploring its intersections with the spiritual and artistic aspects of traditional shamanistic rituals, thereby enhancing the understanding of the foundational framework and value of traditional dance. To this end, the research investigated the value and characteristics of the dance based on literature and video materials, examining the embedded spiritual and artistic elements of shamanistic rituals through themes, costumes and props, rhythm, and dance movements. The theme of dosalpuri encompasses the psychological and religious significance of invoking and treating spirits well to obtain blessings, encapsulating the archetypal form of shamanistic rites through play and resolution. The white costume, resonating with grief and secrecy, symbolizes the prevention of misfortune, and the 3-meter-long white scarf is interpreted as the pathway from the divine time to human time. The rhythm retains the traditional patterns used in the Gyeonggi Dodang-gut [Gyeonggi Province shamanic ritual]. The dance movements include daruchigi, mokjeotnoreum, and yongsawi, adhering to the formats of inviting, entertaining, and sending off spirits.

The purpose of this study is to shed light on the therapeutic meaning and value of dance from a historical perspectives by confirming and verifying Korean 'Byeonggut' and Italian 'Tarantism', two dance examples from both the East and the West, which overcome and heal actual diseases. First, from a synchronic perspective, the cause and background of each disease as well as the characteristics and therapeutic functions of each dance were examined. In addition, from a diachronic perspective, the process of change over time from the origin of each disease to recent research and development of each disease and dance was explored. The study was based on literature research of domestic and international books, theses, and academic papers and internet sources. The comparison and analysis of the two dances find that there are similarities in the causes of the disease, symptoms of the disease, treatment methods, and main means of treatment. However, there are differences in terms of the distribution of occurrence, participants, treatment targets, and patient attitudes between the two dances.

The purpose of this study is to analyze how 'inner regeneration', the subject of the researcher's work ｢Full Bloom｣, in which the existential identity of human beings is reborn, is expressed. Using literature research and practice-based research methods, the study focuses on analyzing how the theme of the work is visualized through movements. In response to the death of the researcher’s former teacher, the work ｢Full Bloom｣was created. The work has a future-oriented story that paradoxically emphasizes the feeling of ‘being alive’in the present moment, the privilege that only human beings can have. As a result of this study, first, based on the researcher’s actual experience and“Sanogugut,”the theme of the work that combines practice and theory was extracted. Second, a movement technique unique to this work was created to convey the theme. Third, a unified context of the theme was presented with a directing technique that embraces the consensus of each art component. This study presents a choreographic work that delivers the message of an internal crisis that anyone can experience. The study is important to show that choreography can serve as a medium to express one’s inner self and existential identity as an artistic value.

This study aims to investigate the genealogy of succession in each household of woman shamans performing Jindo Ssitgimgut. A literature review was conducted to examine previous studies and data, and we conducted interviews in parallel to confirm and verify the findings from the literature review. This research focuses on the women shamans of the Park, Kang, Ham, and Chae families. Tracing back the transmission process of Jindo Ssitgimgut reveals two distinct succession patterns. Among the two is the Jindo Ssitgimgut Preservation Association, which is centered on Park's family, and the other is the Ham family. The Preservation Association accepted a variety of successors, both shamans and non-shamans, and established a method of passing them on through education rather than through hereditary descent. In the case of the Ham family, after the death of the shaman Chae Jeong-rye, a possessed shaman who was also a disciple of Chae became the successor. These two patterns suggest that Jindo Ssitgimgut cannot expect hereditary successions within the family to continue.Due to the change of times and unsuitable succession environment, the Jindo Ssitgimgut hereditary is on the verge of extinction. In order to ensure the proper succession and preservation of the existing hereditary dance, it is necessary to understand the genealogy of woman shamans.

This articles is a analysis of three kinds of materials of Pangut(판굿) of Honam-woodo-nongak(호남우도농악) recorded in the 1967, 1980, 2004 on the view point of ethnography of performing text. The purpose of this article is analysing structuring of Gurree(거리) and Julcha(절차), structural differences of these three kinds of materials. The Gurrees of Pangut of Honam-woodo-nongak in the 1967 are composed of 8-units ; Nendrm-Jilgut-gurree(내드림질굿거리), Ochae-jilgut-gurree(오채질굿거리), Obangjin-gut-gurree (오방진굿거리), Hoho-gut-gurree(호호굿거리), Ilkwangnori-gurree(일광놀이거리), Kunyongnorigurree( 군영놀이거리), Dodukjaebi-gurree(도둑잽이거리), Talbok-gut-gurree(탈복굿거리). One gurree is composed of Julchas of 2-units~7-units. And the 8-units of Gurrees are composed of 27-units of Julchas. The 8-units of Gurrees are divided into two Gut-gurrees, Ab-gut and Dwit-gut on the material in the 1967. The Gurrees of Pangut Honam-woodo-nongak in the 1980 are composed of 7-units; Erim-gut-gurree(어름굿거리), Ochae-jilgut-gurree, Obangjin-gut-gurree, Noraegut-gurree(노래 굿거리), Gujung-nori-gurree(구정놀이거리), Hoho-gut-gurree(호호굿거리), Talbok-gut-gurree. We can find eliminating of Dodukjaebi-gurree, reducing of many kinds of Julchas of part of Dwitgut on the material in the 1980. The Pangut of Honam-woodo-nong-ak in the 2004 are composed of 3-units ; Ibjang-gut(입 장굿), Madang-gut(마당굿), Teujang-gut(퇴장굿). Ibjang-gut is composed of Naedrm-gutgurree, Insa-gut-gurree. Madang-gut is composed of 7-units, seven kinds of Madangs; first-madang(Ochae-jilgut-gurree), second-madang(Obangjin-gut-gurree), third-madang(Poongnyngut- gurree), forth-madang(Dumachi-gut-gurree), fifth-madang(Hoho-gut-gurree), sixth-madang (Ilkwang-nori-gurree, Dodukjaebi-gurree), seventh-madang(Gaein-nori-gut-gurree). Teujang-gut is composed of Teujang-gut-gurree. There are many kinds of variations on Pangut of Honam-woodo-nongak in the 2004; Pangut divided into 3-units, beginning-middles-ending. the middles divided into 7-units, 7-Madangs, each Madang is composed of one or two Gurree. The song of Norae-gut-gurree changed from Wurlsenga into Nongbuga. Dumachi-gut-gurree is added to Pangut. Ilkwang-nori-gurree and Dodukjaebi-gurree are integrated to one unit, sixth-madang. Gaein-nori-gut-gurree is located in ending part of the middles. And there are some kinds of variation; change of position of each Gurree, change of ending method, change of structure of Jangdan. These kinds of variations on the Honam-woodo-nongak in the 2004 reflect modern style of western performing arts in Korean Poongmulgut/Nonak, especially Honam-woodo-nongak.

Traditional art genres have been differentiated and developed as new types in a 21st century that is already accustomed to diversity. In particular, modern art was grafted to digital media to escape the negative limitations of the traditional class to enjoy something through an expansion into popular culture with de genre. As a result, the art world was able to determine how to promote this expansion, leading to a fusion and reinvention through “communication and integration” between genres. Recently, the attempt to develop a research-intensive genre has been progressing by grafting arts genres, differentiated under a paradigm called “The same starting point,” through exchanges and convergence. Particular attention has been given to grafting the characteristics of modern poetry to dance creation and performance in a fusion of literature and dance. This fusion can be divided into two types based on the intertextuality of the two genres. One is poetic dance, with the poetry-dance concept expressing poetic nature through dance, while the other is the dance scenario poem, with the dance-poem concept focusing on performing arts. Though the two concepts are not independent art genres, from the viewpoint of fusion and re-creation, they can be evaluated in terms of how they individualize dance’s deep poetic soul and poetry’s dynamic symbolism. The purpose of this study is to establish creative methods for poetic dance drama, with the essay focusing on creative process methods for three dance poems using a typed person with repose of souls through the symbolic images of Kokdugaksi Norum, which is a traditional drama, in convergence with the plot of ssitgimguk (a shaman ritual for cleaning a dead person’s soul), which is a folk ritual of sacrifice, and modern poetry. In Chapter 1, for the conceptual definition of poetic dance drama, the prior research on the intertextuality between poetry and dance will ber reviewed, while Chapter 2 will premise the creation of poetic dance drama, analyzing the story and character structure of “Lemuralia” in order to apply in earnest the relationship between a ritual of sacrifice and original art to creative activities. In Chapter 3, the essay will explore creative methods through the analysis of actual poetic dance drama. It aims to expand the arts in modern society by encompassing an emotional re-convergence with different arts genres from traditional society. In order to complete the poetic dance drama, Kokdugaksi Norum, conducted in this study, this researcher summarizes the creative methods of poetic dance drama mentioned above according to three points of view. The first is a mix between arts genres that borrow from Korean culture. The second coordinates poetic creation and the language arts within a process for broadening our understanding of the symbolic and dynamic movements of dance, body arts in terms of recognizing performing arts. The third fuses poetry with dance in combination with dynamic images to recognize the poetic soul and to identify the possibilities inherent in communication, individuality, and the convergence of arts genres in terms of creating community awareness that can be interpreted as an object of symbolic meaning.

This study aimed to examine the transmission pattern of Kim Su-ak’s Traditional Dance and its artistic significance. Jinju Gyobang Dance refers to the dance handed down mainly through unique culture and Gyobang of the Jinju region. Representative Jinju Gyobang Dances include the Gutgeori Dance of Jinju Gyobang, Gueum Geommu, and Nongae Salpuri Dance. These dances were compiled by Kim Su-ak and then handed down mainly through Gyobang of Jinju and Seoul. This study examined the transmission pattern of Kim Su-ak’s Traditional Dance. In particular, it summarized three dance notations based on Seoul gyobang and looked into its expanding process through interviews with Kim Gyeong-ran, the assistant instructor of Kim Su-ak's dances. Jinju Gyobang Dance has not remained traditional. It has expanded from its traditional form, constantly giving pleasure to the public. This has been possible because it has increased its artistic value by creating a narrative structure through the perception of theater and space while retaining its original cultural form. This study showed that the value of Kim Su-ak’s Traditional Dance has been created by the transformation into the genre, which actively communicates with reality while faithfully keeping its original aesthetics and significance, and by the work to seek and build various methodologies. This can be explained by the specification of the original form and expansion into various themes through on the spot performances. This transformation into performing arts constitutes an important opportunity to explain works while presenting the direction of life to the public.