This study aims to investigate how Jinsoe Chum, rooted in Gyeonggi Dodanggut, has been adopted and transformed as a stage art, and to elucidate its aesthetic value. It further seeks to demonstrate the potential for Fexpanding the artistic appearance of Jinsoe Chum, and to explore a sustainable transmission methodology for traditional dance in a rapidly changing contemporary arts environment. To this end, this study traces the transmission processes of Lee Dongahn and Jo Heungdong lineages through literature review and performance analysis, and closely examines the staging of Jinsoe Chum in the Korean National Dance Company’s Hyangyeon. The finding confirms that Jinsoe Chum has been re-established as a ‘creative tradition’ that combines withmodern theatrical conventions while maintaining its shamanic sacrality. This shows the process by which Korean traditional dance achieves an ‘aesthetic modernity’ attuned to contemporary sensibilities, and suggests a value orientation that extends the boundary beyond the fixed archetype.

The purpose of this study is to analyze the dance structures of Seoul Intangible Cultural Property Hallyangmu, performed by different successors of the dance. The study utilizes the literature research method to examine the origins and the structural characteristics of Hallyangmu by the successors. The research incorporated the personalities and viewpoints of each successor of this dance. The results of the study have been derived from the analysis of the following four aspects: 1) the characteristics of each role played in the dance based on the narrative, 2) the names of each role’s dance movements, 3) the costumes and props used in the dance, and 4) the rhythm structure in music used for the dance. I hope that this study will contribute to re-recognizing the value of Hallyangmu as a traditional dance and further develop Korean traditional dance.