This thesis is aimed to investigate into the developments of Korean dances in the special period in the Korean history or the emancipation period (1945～1950) and their historical significance. Korean dances had experienced many changes in that period. Since the emancipation of Korea, the conflicts between leftists and rightists had direct influence on the developments of Korean dances. Immediately after the emancipation, various dance organizations had been formed including the Headquarters for Constructing Joseon Dances and the Association of Joseon Dances and Arts. All of these organizations were started as a sub-organization of many cultural and artistic bodies serving the ideological lines of leftists and rightists.
Remarkable things at the time of the Korean emancipation include the incident that Seung-hui Choe and Teak-won Jo, who were renowned as new dancers at the period of Japanese forceful occupation of Korea, left the Korean dance circles since they were branded and criticized as pro-Japan dancers. Then, the Korean dance circles lacking in superior dancers was led by fresh dancers such as Gwi-bong Ham, Dong-in Han, Chu-hwa Jang, Ga-ya Choe, and Ji-su Jeong. However, the Korean dance circles were faced with an interregnum when most of the above fresh dancers went to North Korea during the Korean War. Noteworthy dance activities at the emancipation period were displayed by Gwi-bong Ham's Research Institute for Joseon Education and Dances, Dong-in Han's Seoul Ballet, and Cheol-min Mun's dance criticism whose professional comments were the pioneer in that field. Korean dances at the time of the emancipation had such historical significance that various dance organizations were formed to encourage the solidarity sense of dancers, raise the voice of dances towards the society, and paved the way to the system of dance education and criticism.