Political stability and economic surplus in the late Joseon Dynasty accelerated the negotiation of traditional dances in the context of the demand of popular culture, increase in the desire to make art, and awareness of popular art. Such negotiation aspects became more distinct with the revitalization of the Seonsanggi system and stronger roles of the middle class. Particularly, the middle class was changed into the manager, enjoyer, and doer of dance culture with the movement of elevation of social status in the 18th century. They were the actant that laid foundation for dancers to meet their dances. The principal media of transformation in the dance culture formed between the court and the people, between surface and substratum, and between upper and lower classes were Gyoang and government-sponsored gisaengs. They created their own dances with such an axis as the center, which increased the number of each dance and gave birth to the advancement of dance history. What offered the core channel to the cultural diversity of traditional dances in the late Joseon Dynasty are the Seonsanggi system and the middle class. Gobang contributed to the birth of various dances as well as gisaengs of great dances. 18th century was the time for preparation of negotiation for others’ dances due to cultural diversity phenomena in the late Joseon Dynasty. 19th century was the zenith of desire for expression of dances in which the aspects of negotiation started in earnest.

This study placed importance on being able to track aspects and characteristics of the dances which were popular in the Tang age (唐代) by examining the aspects of several Homu (胡舞) and Daegokakmu(大曲樂舞) shown in Bai Ju Yi (白居易)'s poems(詩). ≪Homu≫ appeared in the poetry and prose described , , and , while ≪Daegok≫ did and with details. ≪Daegok≫ was the dance that was restructured to add more grandeur and beauty. Bai Ju Yi changed ≪Daegok≫ to descriptive poems to make readers understand the organic relationship between its major historical background and figures. In this sense, the dance of the love between Emperor Xuanzong of Tang and Yang in Xi'an and the Emperor Dézōng of Táng (德宗)'s dances about beautiful music were all related to ≪Daegok≫. Thus, ≪Homu≫ and ≪Daegok≫ reviewed in Bai Ju Yi's poems can be found to be related to the foreign dances that were popular in the Tang age, the creative dances based on the traditional songs and dances, and historicity.

Based on the practice PBR (Practice Based Research), this study investigates the entire process from the planning of Frame in Gymnasium Hall I of Ewha Womans University on Jun. 7, 2019 to its performance. It means textualizing and historicizing a performance work overcoming the ephemerality and temporality of the dance

Referencing the concept of the analysis method presented in “Frame Analysis” (1974) of a famous American scholar Erving Goffman(1922~1982), Frame consists of three sub-themes, “assumptions,” “experience composition and frame,” and “basic keys.” The choreographic purpose of Frame is to deliver a message to form the choreographer’s own frame independently and actively, rather than to passively adapt within the confrontation of frame.

The results of this study on the creation, choreographing process and practice to its performance are as follows. First, Frame’s intention and subject of choreography was effectively revealed through the visual and auditory elements. Second, I could be found from immersion in movements through my inner workings and breathing. Lingering imagery of breathing and feelings could be felt during the practice and performance. Third, expression of the researcher’s life direction in Frame helped building the choreographer’s artistic world. This paper will provide an opportunity for the researcher to gain researcher’s capability of research and grow as an artist in dance creation field.