The purpose of this study was to examine the creation process of a fan dance from the point of view of intertextuality. The study, collecting the precedent research materials related with interrelationship and the fan dance, conducted literature analy... The purpose of this study was to examine the creation process of a fan dance from the point of view of intertextuality. The study, collecting the precedent research materials related with interrelationship and the fan dance, conducted literature analysis. As for research methods, it applied continuous comparative method- comparative sociological analysis method- as well as typological analysis, historical and sociological analysis methods, and schematized creation process of the fan dance, change of symbolic meaning of a fan and overall relations. The study secured the validity and reliability of the research result, using multiple analytical methods. The findings based on these grounds are as below. First, God of Wind - belonging to the Heaven and conveying heaven's will by wind- was called Pungsa (master of wind), Gibaek, Biryeom, Bangcheongun. Ancient people in China's Shang and Zhou Dynasty believed winds were mainly created by birds and so related God of Wind with a divine bird. The core of God of Wind, symbolic of an Oriental phoenix flying in the sky, can be explained by feathers of a bird. These feathers, namely God of Wind, became the origin of a fan creating wind and thus it can be deduced that feathers of a bird hanging at the end of the fan in a fan dance contains the meaning of God of Wind. Second, heavenly bird that existed in the form of sculpture, wind and air formed the text of God of Wind. God of Wind in Ancient Joseon, related with feathers of a bird, implies an imaginary heavenly bird phoenix. The text of God of Wind was absorbed into ancient times, forming two-sided texts: 'Ritual on stone tower' and 'ritual for rain' related with shrines holding rituals for Heaven out of those representing each area's traits; exorcism. The text of ancient times' rituals for Heaven - 'ritual on stone tower' and 'ritual for rain' - was absorbed into the Three Kingdom Period and became a new text of 'expelling devils and inviting good lucks'. National rituals for rain during the Goryo Dynasty were absorbed into the Joseon Dynasty, making a changed text of the original form of shamanic dances during the ceremony for exorcism. While, the text of a fan expelling epidemics was absorbed into the Joseon Dynasty, forming a new text of 'danoseon' - fans presented to the people by the king. The original form of shamanic dances in the ceremony for exorcism became a new text of performing art 'dance of female exorcists' by dint of modern-concept dancer Choi Seung-hee, whereas dance of female exorcists was absorbed into her creative dance 'Tune accompanied by Korean pipe', making a new text of the same Tune for feather fan dance. Tune accompanied by Korean pipe became a new text of group folding fan dance, using the two hands, which became a new text of solo fan dances of Kim Baek-bong and turned to a new text of group folding fan dances by dint of Kwon Ryeo-seong. Kwon's group fan dance became a new text of group fan dance as shown at the show in the Mexico Olympics by dint of Kim Baek-bong, which in turn became a dance representing Korea, eventually becoming a new text of changed fan dances in diverse forms featuring each area. The Korea Dance Association designated fan dances as Masterpiece Dance No. 2, from the point of view that they represent Korea's culture & art at home and abroad, making a new text. And also the fan dance was designated as Intangible Cultural Asset of Pyeongandamdo No. 3 with a view to preserving fan dances as a kind of culture. Third, symbolism of heavenly bird, that of wind and that of air formed symbolism of deified God of Wind, which in turn was absorbed into ancient times and formed two-sided symbolic meanings: symbolism of stone towers representing each area's traits and symbolism of status, exorcism and tools used for ceremonies for exorcism. Symbolic meaning of stone towers representing each area's traits in ancient times was absorbed into the Three Kingdom Period, forming a new symbolic meaning of a phoenix - foundation for culture and art. Symbolism of status, exorcism and tools used for ceremonies for exorcism was absorbed into the Three Kingdom Period, forming a new symbolism of expelling devils and inviting good lucks implying relations with three divine seals. Symbolic meaning of a phoenix as foundation for culture and art in the Three Kingdom Period was absorbed into the Goryeo Dynasty, forming a new symbolism of recognition of Goryeo's sovereignty, trade goods for diplomatic relations and tools for a ritual for rain, meaning the fan as the outcome of wind and phoenix feather. Symbolism of a fan expelling devils and inviting good lucks implying relations with three divine seals was absorbed into the Goryeo Dynasty, forming a new symbolism of expelling devils and inviting good lucks as a present. Symbolic meaning of a fan as recognition of Goryeo's sovereignty, trade goods for diplomatic relations and a tool for a ritual for rain was absorbed into the Joseon Dynasty, forming a new symbolism as a tool for female exorcists performing at ritual for rain and props for artist group entertainers. Symbolism of a fan expelling devils and inviting good lucks as a gift was absorbed into the Joseon Dynasty, forming a new symbolism of the court collecting of fans from people and king's gift on dano - imbued with tints of poetry, literature and painting - and expelling devils and inviting good lucks along with symbolism expressing authority and artistic lives of aristocrats. Symbolism as a tool for female exorcists performing at a ritual for rain during the Joseon Dynasty was absorbed into female exorcist dances in modern days, forming a new artistic symbolism as props for a female exorcist dance. Symbolism of a fan as props for artist group entertainers during the Joseon Dynasty was absorbed into pansori, forming a new symbolism as a tool expressing emotions in pansori. Artistic symbolism of a fan as props for modern-day's fan dances was absorbed into Tune accompanied by Korean pipe, forming a new artistic symbolism as a tool for original both hand feather fan dances, which in turn was absorbed into group fan dance of Ahn Seong-hee, forming a new artistic symbolism as group folding fan dance using the two hands. This artistic symbolism as group folding fan dance using the two hands was absorbed into a solo fan dance of Kim Baek-bong, forming a new artistic symbolism as a tool for solo folding fan dance using the two hands. Artistic symbolism as a tool for Kim Baek-bong’s solo folding fan dance using the two hands was absorbed into Kwon Ryeo-seong, forming a new artistic symbolism as props for domestic group folding fan dance using the two hands. Fan dance of Kwon Ryeo-seong was absorbed into Kim Baek-bong, forming a new artistic symbolism as props for international group folding fan dance using the two hands.International group fan dance of Kim Baek-bong was absorbed into each area and group, forming an artistic symbolism of fan dance in diverse forms. Fan dance of Kim Baek-bong was designated as Masterpiece Dance in 1992, forming a symbolic meaning as masterpiece dance.Fan dance of Kim Baek-bong was designated as Intangible Cultural Asset of Pyeongandamdo in 2014, forming a symbolic meaning as an intangible cultural asset of national culture. Fourth, from the historical, social and cultural perspective, all texts are interrelated and form con-texts. Dancing steps, dresses, music and props - currently existing phenomena of a fan dance as Korean people's cultural asset - form co-texts. Three-dimensional factor generated as causal relations of both con-text and co-text formed unique artistic value of a fan dance as the people's cultural asset and turned to be the Intangible Cultural Asset of Pyeongandamdo representing Korea. In other words, all previous texts are to form an overall and interrelated relationship. keyword: Intertextuality, Fan Dance, Creation Process
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