This study is about the Kim Su-ak’s Salpuri-chum focusing on Jinju region. The methods of studying are direct learning and collecting basic sources such as interviews and technical training from Kim Su-ak. Kim Su-ak first acquired Salpuri-chum while learning various dances from Choi Soon-i who was a dancing master of Jinju Gwonbeon (Female Entertainers’ School in Jinju Region). But she formed her own syle Salpuri-chum with adding her artistic talents. The progress of this study was as follows: first, learned the formation of Kim’s Salpuri-chum. Second, analyzed the features of Kim’s Salpuri-chum while dividing the dance into incidental music, important dance phrase, and aesthetic characteristics. As the result, both Kim’s Salpuri-chum and Salpuri-chum in Jinju Gwonbeon style give strong feelings to the dancer or the audience with the pleasure rather than the sorrow; also these dances suggest a dynamic image rather than a static image. While as Kim’s Salpuri-chum is recognized artistic value, but unfortunately, the dance was not been designated as intangible cultural heritage. Therefore the rate for learning students for this dance is relatively decreased. However, this dance perfectly contains a unique and intact form of local dance movements in Youngnam (Southern regions of Korea), so that the study of this dance will be playing a role to reveal the historicity of Jinju dance. Also, I hope to enlarge various bases of Kim’s Salpuri-chum.

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.