The purpose of this study is to shed light on the artistry of choreographed by Kim, Baek-Bong from the view of ‘artistic beauty’ of G. W. F. Hegel. Since the first performance in 1959 at Won Kak Sa, has been transmitted and performed by her students. It has been performed for 6 minutes and 30 minutes; the order of compositions of the music for this performance is Jungmori in 10 beat, Jungjungmori in 12 beat, Jajinmori in 14 beat, and Hwimori in 70 beat; it starts with a slow tempo and gradually develops to a fast tempo. According to Hegel, ‘content’ and ‘form’ are the material components actualizing the art in the real world. The ‘content’, the expression of artist’s identity, consists of ‘Phantasie’, ‘Begeisterung’, and ‘Talent’, and the ‘form’, the method for logical expression of content’ consist of ‘Manier’, ‘Stil’, and ‘Originalität’. The content of is appeared through the creative imagination by natural subjects, snow crystal and cocoon, the inspiration consisting of internal motive, large flakes, and external motive, the necessity of designing a new work, and the unique capability(genius) for choreographing a group dance such as the number and positions of dancers and structural changes by musical and spatial compositions. The form of is appeared by the changes in linear form. The straight lines and curves in the work reveal the traditional patterns of group dances. Those lines secure the external formality through regularity, symmetry, and generality. Also, the uniqueness of is shown by the critical essays good at integrating and proposing the identity and characteristics of the work displayed at the title of this study. This study assures that is not only a performing art with good aesthetic content and form for artistic beauty but also a piece of art with educational value, as well as discovers the spirit of artist deep under its external splendor.

This study focused on the fact that both dance and calligraphy have a common formal concept with harmony, balance, and rhythmical beauty as the long-standing traditional forms of art in the Eastern world. First, the study examined the relationship between dance and calligraphy by looking at old literature and successfully identified the common ‘formal concept of beauty’ they shared. During the process of understanding calligraphy, the study noticed that the emotions which occurred while moving the brush were not much different from the emotions that arose when the dancer moved their body to express a certain movement. It was found that the contents and the emotions that occurred during the creation phase of dancing and calligraphy were almost identical. Instead, the sole difference was that calligraphy used the movement of the brush, while dancing utilized the movement of the body and the eyes. This suggested that dance and calligraphy shared the concept of beauty of ‘form, harmony, and control.’ With this result, the study suggested that the art of calligraphy and dancing had a possibility to be performed together in various ways under harmony by creating an environment that allowed artistic cooperation.