This is a research of Choi, Seung Hee dance, tour of USA, Europe, and Latin America. The tour of USA research covers the first USA performance initiated in San Francisco 1938 and the second one in 1939 which had purpose of avoiding the European War. The tour of Europe research covers from January 1939 in Paris right after the first tour of USA to the performance in Hague, Netherlands. The tour of Latin American research covers from the performance in Brazil in 1940 to the performance in Mexico after the second tour of USA to avoid the Second World War. The activities in the Communist bloc in Europe after Choi, Seung Hee's defection to North Korea have been excepted from the tour of Europe research. According to Professor Jeong, Byung Ho, Choi, Seung Hee created more than 310 works throughout her life. And it is shown in her own records of conversation that she had over 600 dance work performances during the world tour. Also, Professor Kim, Ho Yeon says that there are more than 600 news articles in The Chosun Daily News, Dong-A Daily News, Maeil Shinbo during the period of Japanese colonial rule. Currently, over 100 studies of Choi, Seung Hee can be found as preceding results. Among these works, performances, recordings, and researches, lots of errors appear when translating expressions of the countries where the performance took place to our expression and when interpreting those translated materials as primary source and analyzing with our method which causes so much confusion to the research when quoting them as well. The motive of this research is to minimize those confusions. Along the process, by translating primary sources from around the world, the unification of expressions in our terminology which Choi, Seung Hee originally used was conducted as well. This research may have some omitted areas since only confirmed information in primary sources was researched. Choi, Seung Hee presented steadily during the world tour and the materials for the creation were about Korea and legends of Japan. She stated in her performance fliers that she is 'Korean Dancer' and also put her Japanese name 'Sai Shoki'. This can be understood as reflection of difficulty of the era. The fliers contain the title, music, and, in most of the printouts, the warning for the copyrights. This can be the pride of her creation and the result of an artist's rights practice. As a result, proposing the pamphlets and evaluation data of each performances of USA tour and proposing the actual repertory and contents of performances by discovering Europe tour pamphlets (Paris and Germany) are considered to be meaningful works in the history of Choi, Seung Hee research.

Past English-language scholarship on Choe Seung-hui has focused on her world tour of 1938-1940 and her work in Japan and Japanese-occupied Korea prior to 1945. Choe’s contributions to dance creation in the socialist world have been largely ignored. This essay expands on the existing scholarship by using Chinese-language source materials to examine Choe’s career in China and its implications for the connections between the pre- and post-1945 periods of Choe’s career. This essay documents three important parts of Choe’s work in China: her development of China-themed choreography, her adaptation of new dance forms from Chinese opera, and her training of the first generation of Chinese dance professionals. I argue that Choe’s work in China was continuous despite changes in political context. The project that she began in the 1940s as part of the pan-Asianist project of Oriental Dance later transformed by the 1950s into Chinese classical dance under socialist internationalism.

Korean Fan Dance is the most favored dance by the entire nation, however, it would be astonishing to explain that this dance's history has been less than 100 years old. Korean Fan Dance, which appeared around 100 years ago, was coincidentally performed by two Shinmuyong (New Dance appeared at the beginning of the 20th century) dancers, Seung-hee Choi(1911-1967) and Baek-bong Kim(1927-) in the same period, and recently Geum-do Jang(1928-2019), a former gisaeng (female entertainer) of Sohwa Gwonbeon (Gisaeng School) in Gunsan area, was also known to have performed a fan dance. I had a curiosity about the fact that the three people had different fan dances. I also realized that our knowledge of Korean Fan Dance might have been scattered. Thus, I attempted to research the history of different Korean fan dances while examined the published materials. As a result, Seung-hee Choi's fan dance changed several times and developed without a certain framework in terms of the function and background of the dance. On the contrary, the fan dance of Baek-bong Kim's movements were formalized and handed down so far without any significant changes until the first presentation. Geum-do Jang's fan dance started as a formalized group dance after learning from Gwonbeon, but later she performed it as a solo dance. After the Korean Liberation, Jang's fan dance lost its venue due to the disappearance of Gwonbeon. Meanwhile, the fan dance of Korean Minority in Chinese was influenced by Seung-hee Choi and the gisaeng, but it was widely changed and interpreted upon topics and expressions.

Sanjo dance is a dance that was created with the origin of Sanjo music. Sanjo Dance was performed firstly in 1942 by Choi Seung-hee. From the 1950s to the 1970s Sinmuyoung (新舞踊, New Dance) dancers had presented the Sanjo dances. In the 1980s and around, the Sanjo dance did not draw much attention from the entire dance industry. From the 1990s to the present, the first Sanjo Dance was re-examined, and dancers newly presented various Sanjo dances. To summarize the aspects of Sanjo dance, first the Sinmuyoung dancers began to create it, and a number of the new dance-style Sanjo dances were created. In the 2000s, it has also been made in the traditional dance field. Second, after using Gayageum Sanjo by dancers, the musical instruments became more diversified, including the iron gayageum, geomungo, and haegeum, and the Sinawi format was also tried. Third, the Sanjo dance has various sub-titles, which reflect a certain motif or sense of subject matter of creation. However, Sanjo dances in the context of traditional dance tend to form a dance in the composition and flow of Sanjo music. Fourth, you can see creativity, improvisation and diversity in Sanjo dance. Creativity and improvisation are characteristics of Sanjo music, which gave rise to the diversity of Sanjo dance. The Sanjo dances developed in this flow can be divided into three contexts. These are the Sinmuyoung style, the traditional dance style, the mix of Sinmuyoung and traditional dance style.

This study aims to examine the educational development of Choi Seunghee’s training system, particularly with a focus on the development patterns of Korean-Chinese dance education textbooks and characteristics of Korean-Chinese dance education textbooks at Yanbian University in China, which has inherited and developed Korean-Chinese dance based on Choi Seunghees training system.

The characteristics of Yanbian University’s Korean-Chinese dance education textbooks examined in this study are as follows. First, it is based on the method of organizing educational textbooks, which was identified in Choi Seunghee’s training system. Second, the contents that were not covered by Choi Seunghee’s training system have been comprehensively adopted into the textbooks, which thus came to be loaded with abundant educational content. Third, a training system is currently established focusing on the basics of women’s dance movements.

Yanbian University’s Korean-Chinese dance education was able to create educational textbooks that could support the current logical training system due to the Korean-Chinese dance educators’ devotion to research on Korean-Chinese dance education, which was based on the principle of succession and development.

The purpose of this study can be divided into two. The first is to clarify the detailed schedule of the concert tour of the USSR, which was the last schedule of the Choi Seung-hee’s National Dance Studio, dispatched to the Eastern Europe tour in September 1956. This clarification includes an identification of the purpose, signification of this concert tour and the dance works. The second is to analyze the phenomenon of Choi Seung-hee’s glocality in her dance works based on the trends of her creation in the 1950s and the Soviet audiences’ reception of her works.

The Choi Seung-hee’s National Dance Studio held a concert tour of the Soviet Union for 44 days from November 30, 1956 to January 12, 1957. In this tour, the North Korean government had a political purpose to advocate North Korea's position among socialist countries and to strengthen the solidarity among them.

After Choi Seung-hee’s return to North Korea, in the form of her works she used the stagecraft of Soviet ballet for her choreographies of North Korean dance. And In the content and subject of her works, she pioneered the North Korean dance drama “North Korean Ballet”, which dealt with socialist patriotism and proletarian internationalism following socialist realism. In her other dance works, she portrayed the North Koreans’ wise, optimistic, and diligent lives and showed the model of North Korean socialists. Although foreign audiences’ reception was different, her artistry was recognized in Eastern Europe, including the USSR, and caused a great repercussion.