This study aims to investigate how Jinsoe Chum, rooted in Gyeonggi Dodanggut, has been adopted and transformed as a stage art, and to elucidate its aesthetic value. It further seeks to demonstrate the potential for Fexpanding the artistic appearance of Jinsoe Chum, and to explore a sustainable transmission methodology for traditional dance in a rapidly changing contemporary arts environment. To this end, this study traces the transmission processes of Lee Dongahn and Jo Heungdong lineages through literature review and performance analysis, and closely examines the staging of Jinsoe Chum in the Korean National Dance Company’s Hyangyeon. The finding confirms that Jinsoe Chum has been re-established as a ‘creative tradition’ that combines withmodern theatrical conventions while maintaining its shamanic sacrality. This shows the process by which Korean traditional dance achieves an ‘aesthetic modernity’ attuned to contemporary sensibilities, and suggests a value orientation that extends the boundary beyond the fixed archetype.

The purpose of this study is to examine how Gyeonggi-do Dang-gut has influenced contemporary dances that use jinsoe as a prop and to explore the ways in which these dances have developed. As research methods, prior studies were reviewed, and video materials were analyzed. Dances that utilize jinsoe and have been inherited and developed from the lineage of Gyeonggi-do Dang-gut include Lee Yong-woo and Kim Sook-ja’s Turbulim Dance, Lee Dong-an’s Jinsoe Dance, and Jo Heung-dong’s Jinsoe Dance. This study investigates the origins, forms, and artistic characteristics of these dances, as well as their relationship to the roots of Gyeonggi-do Dodang-gut. All of these works employ the rhythmic patterns (jangdan) of Gyeonggi-do Dodang-gut and either transform actions derived from the ritual sequence of gut into performing arts or transmit them through the formalization of artistic works. Jo Heung-dong’s Jinsoe Dance is further identified as a creatively developed work grounded in tradition.