The Korean-Chinese Janggo dance is a symbolic national art of the Korean-Chinese and a symbol of the Korean-Chinese culture. This study aims to research how Korean traditional culture, Janggo dance, developed and settled into the Korean-Chinese Janggo dance in China. To this end, we examine the changes of the Korean-Chinese Janggo dance by period and the characteristics of its choreography for the succession and development of the Korean-Chinese culture. First, the Korean-Chinese dancers pursued the development of national dance for succession and development of their culture, and also they attempted projects to discover, organize, and recreate the Korean-Chinese dance based on different perspective and ideas from China. Second, the Korean-Chinese Janggo dance has developed, reflecting the changes and development of The Korean-Chinese Janggo dance by period. Third, the artistic feature of the Korean-Chinese Janggo dance emphasizes the beauty of the dancer's body and expresses the harmony of the dancer's gestures as well as expressions with the Janggo dance and music. We hope that this paper would devote itself to the development of the Korean-Chinese Janggo dance and be used as a basis for future research.

This study aims to examine the educational development of Choi Seunghee’s training system, particularly with a focus on the development patterns of Korean-Chinese dance education textbooks and characteristics of Korean-Chinese dance education textbooks at Yanbian University in China, which has inherited and developed Korean-Chinese dance based on Choi Seunghees training system.

The characteristics of Yanbian University’s Korean-Chinese dance education textbooks examined in this study are as follows. First, it is based on the method of organizing educational textbooks, which was identified in Choi Seunghee’s training system. Second, the contents that were not covered by Choi Seunghee’s training system have been comprehensively adopted into the textbooks, which thus came to be loaded with abundant educational content. Third, a training system is currently established focusing on the basics of women’s dance movements.

Yanbian University’s Korean-Chinese dance education was able to create educational textbooks that could support the current logical training system due to the Korean-Chinese dance educators’ devotion to research on Korean-Chinese dance education, which was based on the principle of succession and development.

This thesis examines the current status of the dance research of North Korea in three areas: research on dance history, research on dance theory, and the transmission and research of the cultural dance heritage. We investigate comprehensively by looking into the history of North Korean dance by identifying the artistic purpose of North Korea and the ways dance history books organize its history, and the research trend. In particular, it should be understood correctly on condition that the ideology contained in the dance, the social-cultural context, and the dance as a comprehensive art must be studied in paralleled with various theoretical systems, aesthetic characteristics, principles, and methods from a multifaceted perspective.

The history and culture of dance that could not be explained with old materials alone have been identified scientifically, newly established, and systematized in North Korea, and based on this, North Korean dance scholarship focused on the study of theory and method on the issues regarding transmission of the excellent traditions and dance heritage of the nation. This focus become an important guideline to the development of dance art in North Korea.

In addition, more systematic theoretical studies have been conducted in various ways, including Korean dance history, basic dance theory, and dance notation. These studies are significant in laying the foundation for the systemic and scientific study of dance theory. That would support the basics of dance, dance creation, and theoretical investigation.

This paper aims to compare the forms of basic and creative dances in Tokyo Korean School (hereafter Korean School) and Joseon School by focusing on the national dance education conducted by them, consider what a role the national dance has placed in internal and external events and suggest some tasks that they should perform in the future.

From the consideration , following findings can be summarized:

First, in terms of basic dance, Joseon dance is taught by dance instructors trained in a consistent system with systematic curriculum in Joseon School, while Korean dance education is conducted in an autonomous form at the discretion of the instructors in Korean school. Second, in terms of creative dance, although Korean School put an emphasis on creative activities reflecting the current generation's senses, by considering the flow of times, Joseon School is biased toward the nationalist tendency and has no modernistic perspective. Third, the national dance education in both schools has commonly served as an important medium for promoting the relation with Japan, the country of residence, through external activities.

Based on the findings, the tasks of the national dance education can be suggested, on which the new generation should focus. First, it is important for both Korean and Joseon School to co-host the cultural events in which they can watch and learn each other's dance and create the environment for them. Second, a joint research on the traditional dance of South and North Korea should be conducted, based on regular exchange between dance instructors working in both schools.