The Jeonju Daesaseumnori National Competition has a history of more than 300 years that originated from ‘Jeonju Tongincheong,’a contest established during the late Joseon dynasty. Despite the competition’s long history and tradition, it remains under-researched. Therefore, this study analyzes “Jeonju Daesaseup Dyeon”, one of the planned performances of the Jeonju Daesaseumnori Preservation Association. Based on the performance report of “Jeonju Daesaseup Dyeon,” the problems with this performance were identified and a revitalization plan was developed as follows. First, since the proportion of duplicate performers during the four-year performance accounts for more than 50%, opportunities for new winners to participate should be expanded. Second, since there are many fragmentary promotional activities, strategic promotional marketing and customer management are required. Third, since the similar performance content and format were repeated, improvements in the content of performance are necessary. It is difficult to generalize our recommendations based on only one case study. However, this study is important in that it offers insights on how to develop and revitalize the Jeonju Daesaseumnori Competition.

Jeonju Daesaseupcheong(Jeonju Traditional Culture Building), founded in 2021, introduces a permanent performance system and presents traditional art performances every Saturday. With the annual number of visitors to Jeonju Hanok Village currently reaching 10 million, if the Jeonju Daesaseupcheong's permanent performance for tourists is activated, it will have infinite potential as a traditional art content and will become an unrivaled performance. This study has examined the current status of permanent performances on Saturdays and sought ways to enhance them based on a SWOT analysis of the Jeonju Daesaseupcheong’s performance report and Steering Committee’s activities. The results of the study are as follows. First, a promotional marketing strategy needs to be designed, targeting tourists in Hanok Village as main audiences for traditional art performances. Second, pansori-based Changgeuk(Traditional Korean opera) can be developed into a permanent performance repertoire. Third, a development of participatory content creation is suggested to encourage local residents’participation. This study makes some important contributions to suggesting the operational directions for the permanent Saturday performances of the Jeonju Daesaseupcheong.

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.