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.

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 is a methodology to establish a basic concept of aesthetics of the Korean dance. By examining main concepts of Korean traditional ideas, this study aims to explore the concept of aesthetics in Korean dance in a systematic way. In particular, it interprets the Korean dance based on the foundation of humanities. Accordingly, the study is significant in developing the system of aesthetics of the Korean dance by suggesting philosophical foundations of the Korean dance through the aesthetics study and through history and traditional ideas rather than limited interpretation within the scope of broad east and western aesthetics. The study was progressed in a 3-stage research design. The first stage was to extract the prototype of the ancient arts from Korean national culture in order to comprehend the prototype of the Korean dance. In the first place, examine the original flow of the Korean ideas embedded in the national foundation myths, legend and ancient heavenly ritual, and the study analyzed related languages and terms, then able to expose the clue of the esthetics of the Korean dance. The second stage was examining the spirit of the Korean Dance from the national’s original flow which is embedded in the legend and ancient heavenly ritual, i.e through the world view of ancestors who worshiped the sun and served the heavenly god. And explored the boundary of aesthetics of the Korean dance over ‘Poongryudo’ that is based in the aesthetics of the Korean dance. Lastly, in the third stage, the study establish the basic concept of aesthetics of the Korean Abstract 82 제41호dance from reviewing how the logic of aesthetic ideas, which were generated from specific traditional dances such as Salpurichum, Chunaengjeon and mask dance, granted value in aesthetic sentiment and concept. Aesthetics of the Korean dance is the aesthetics of harmony under the human centered ideas, the aesthetics of freedom which is surrealistic directly related to our life and goes beyond time and space, and the aesthetics of weighing high on the livelihood. Such aesthetics could form today’s aesthetics value and concept by repeated periodic communication. The basic concept of aesthetics of the Korean dance is divided by ‘Sitgim(washed)’ that is reached to god’s purification to release resentment, sorrow, and the dark-side, and ‘Poongryu(tasteful)’, which purposed for purify by lightness, harmonize, animateness, extemporization, flavor, pleasure, etiquette music, and light-hearted, etc. These concepts are generated from the national original culture, can be find from the original flow and the ancient heavenly ritual, and ultimately, both are seeking for the stage of a unity of heaven and man from the purification.