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.

The purpose of this study is to conduct a spatial analysis of movement in Taepyeongmu using Rudolf von Laban's theory of Space Harmony. Laban emphasizes that 'space' can grasp the nature of movement and that while Eastern and Western perspectives may differ, it can be dealt with in terms of the universality of dance. In this study, I analyse Teobeolim(터벌림, widening ground) and Olimchae(올림채, uplift). The results of the spatiality of Taepyeongmu are as follows. The major Crystalline forms are analyzed as icosahedrons in Teobeolim and as cubes in Olimchae. The results of the Effort analysis shows that Taepyeongmu displayed the Bound Flow of the lower body, while the spraying of the Hansam caused Light Weight in Teobeolim and Free Flow of the upper body is utilized elastically in Olimchae. The use of the effort is found not to be simple and uniform, but to occur in a variety of complex movements. Research of Taepyeongmu’s spatiality is not limited only in the form of perfect skill and performance that focus on the transfer of skills, but it can also provide a theoretical basis for an analysis of Korean dance, allowing more various interpretations and an application of more efficient and clear movements.