Abstract
This study aims to discuss the direction of preservation through transmission education by examining the changes in the halmi (grandmom) dance of Suyeong yaryu , a national intangible cultural heritage. For this purpose, four performance video materials are comparatively analyzed, based on literature review, and personal interviews with transmission educators and trainees of Suyeong yaru are conducted.
 Through this process, the following results are derived. First, the solo dance time of the halmi dance was very short at 40 seconds in the beginning, but gradually increased to 6 minutes at the end. Second, dance movements increased. For example, the movement of twisting a thread and pulling out fine hairs was added instead of looking at the mirror in the face trimming movement. The composition of the solo dance of the halmi dance increased from 6 to 8 dance movements. Third, in practicing dance movements, the individuality of the performers was distinct. In the early days, dance movements were performed in a complex manner, but after the dance notation was established, each dance was performed independently. As the musicians' beats slowed down towards the latter stages, the performers' dance movements were also changed to more leisurely use of the beats.
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