This study is about the Kim Su-ak’s Salpuri-chum focusing on Jinju region. The methods of studying are direct learning and collecting basic sources such as interviews and technical training from Kim Su-ak. Kim Su-ak first acquired Salpuri-chum while learning various dances from Choi Soon-i who was a dancing master of Jinju Gwonbeon (Female Entertainers’ School in Jinju Region). But she formed her own syle Salpuri-chum with adding her artistic talents. The progress of this study was as follows: first, learned the formation of Kim’s Salpuri-chum. Second, analyzed the features of Kim’s Salpuri-chum while dividing the dance into incidental music, important dance phrase, and aesthetic characteristics. As the result, both Kim’s Salpuri-chum and Salpuri-chum in Jinju Gwonbeon style give strong feelings to the dancer or the audience with the pleasure rather than the sorrow; also these dances suggest a dynamic image rather than a static image. While as Kim’s Salpuri-chum is recognized artistic value, but unfortunately, the dance was not been designated as intangible cultural heritage. Therefore the rate for learning students for this dance is relatively decreased. However, this dance perfectly contains a unique and intact form of local dance movements in Youngnam (Southern regions of Korea), so that the study of this dance will be playing a role to reveal the historicity of Jinju dance. Also, I hope to enlarge various bases of Kim’s Salpuri-chum.

The purpose of this study was to investigate the various aspects of the traditional Korean dance at the Pyeongyang Gisaeng School and the ways that their culture was transmitted through their activities. There is no doubt that the perceptions of Gisaeng have been negative or narrow-minded. Furthermore, Gisaeng has become a symbolic image of sexuality, and the narrow-minded stereotype of Gisaeng still remains today. However, there exists counter-discourse that enables a re-conceptualization of Gisaeng as the symbol of a cultural archetype. It is also necessary to assess them as the pioneers of modern culture creation. The Pyeongyang Gisaeng School, in particular, produced many entertainers in the early modern days through a stable and sustainable educational system. The school provided whole person education based on its systematic process and content to produce a host of entertainers instead of limiting its scope only to art. Dance education was allocated to the upper grades so that the students could take on the practice of dance after equipping themselves with the basics including music. I The school also embraced contemporary art in its education according to the flow of the times rather than remaining at the level of the tradition. This foundation of the school contributed to the big number of Gisaengs from Pyeongyang recorded in Yedanilbaekin and Joseon Mi-In Bogam and the popularity they enjoyed among the public through their various performance activities.