This study is to examine No. 1 Kim Jin-Geol ｢Sanjo｣ and No. 19 Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣, which were selected as masterpieces among many other ‘Sanjo dance’ – dances that both accept and transform tradition – through the analysis of each dance’s structure, characteristics, and discursive meaning. The research method adopted spatial semiotics because the actions of Sanjo dances produce various meanings depending on their spatial composition. As a result of the study, the Sanjo rhythms include Jinyang, Jungmori, Jungjungmori, and Jajinmori. There are differences between Kim Jin-Geol ｢Sanjo｣, which was first created in 1953, and Jeong Jae-Man ｢Sanjo(CheongPungMyeongWol)｣, which began in the late 1990s, in terms of their utilization of stage space. Compared to Kim Jin-Geol ｢Sanjo｣, Jeong Jae-Man ｢Sanjo (CheongPungMyeongWol)｣had more diverse floor patterns and compositional structures and showed the incorporation of fans as props in dancers’ movements. This study is meaningful in examining the universal values and characteristics of Sanjo dances, and is valuable in recognizing the re-creations and contemporary values of traditional dances.