본 연구는 비보잉이 한국의 전통문화인 남사당놀이의 살판과 움직임의 기교가 유사하다는 점에 착안하여 공연형태에 따른 의미와 미적요소를 탐구하는데 연구의 목적을 두었다. 연구의 목적을 달성하기 위하여 비보잉과 살판 연희를 탐색해보고 그 차이와 유사점을 통하여, 연희의 특징과 미적요소로 확대하였고, 다음과 같은 결과를 도출하였다. 첫째, 공연형식에서 나타나는 원의 상징성은 공동체의식의 틀로써, 구성원 모두가 동등한 조건으로 평등한 관계임을 상징하며, 정서를 공감하고 자기 존재의 근원적인 모습과 공간속에 동화하는 순응이 포함되어 있다. 둘째, 비보잉과 살판의 배틀 형식은 대결구도를 지니고 있었지만 갈등을 풀어가는 상생(相生)구조로 이루어져 있다. 셋째, 비보이는 패션에서, 살판은 매호씨를 통해서 해학과 풍자의 미(美)를 지니고 있다. 넷째, 비보잉과 살판에 나타나는 음악구조는 리듬의 반복을 통한 환원구조로 관객과 연희자 모두가 신명과 흥에 도달할 수 있도록 한다. 다섯째, 비보잉의 기교는 다양한 테크닉의 총체로서 상대나 음악에 따라 즉흥적으로 이루어지는 한국춤이나 장단 등에 나타나는 특성을 보이고 있으며, 살판은 12기예 속에 한사상을 내재한 것으로, 이는 민속예술에서 나타나는 ``전체의``, ``모든``, ``큰``의 의미로 하나의 순환주기를 통하여 공동체의 염원과 안녕을 구체화시킨 것이다. 이상과 같이 비보잉과 살판에 내재된 미적요소는 고유한 정서와 사상 속에 생성된 공동체적 신명과 흥을 내재하고 있었으며, 춤과 연희를 바탕으로 갈등을 해소하고 공동체의 삶을 모색한 것으로 나타났다.

The study took notice of the fact B-Boying is fairly similar in various aspects with Salpan(;Tumbling & acrobatics) of Nsmsadang-Nori(;Korean folk performance), including its movements and gestures and so it is aimed at exploring how they are interpreted through actual performances and searching their aesthetic factors. The study investigated similarities and differences between B-Boying and Salpan to find the following. First, B-Boying is a kind of dance which is rooted in Hip-hop to be featured with the national spirit combining resistance will and survival will on which Hip-hop is created, further it is also characterized with the people-oriented nature same with the background of Namsadang-Nori`s birth, and so they are coherent with the popular consciousness to represent culture of grass-roots. Second, performances of B-Boying and Salpan are usually played at streets or grounds which are circle-shaped to help players and audiences enjoy it together at same angles. B-Boying is performed in a battle type against teams or individually, while Salpan is played in a showdown between Salpan-soi(;head of acrobats) and Maeho-ssi(;clown), B-Boying battle is focused on dancing skills, but Salpan is played on dramatic story and a superior and a poor hand are already designated at start. Third, B-Boying is played through break beats as a main music and Salpan uses percussion rhythms to show that both of them employ rhythms of strong beats mainly, and the repeated rhythms give rise to enthusiasm and exciting moments as well as to make spectators and performers be united into one body through mutual understanding. Fourth, B-Boying shows a variety of movements and skills, including Up-lock, Top-lock, Power-move, Style-move, and Freeze in a way of impromptu or prepared, but Salpan is performed on the basis of 12 acrobat skills through a dramatic structure to make a difference between two styles. The study investigated similarities and differences between Boying and Salpan as the above and it tried to expand the research scope to aesthetic factors by making use of those features. Results are as a following. First, a circle which is formed during the performance symbolizes that they are taken root in a community spirit and participants are treated on an equal footing, and it reflects they share the same emotional moments, while finding their natural existence and adapting themselves to the space. In the phenomena is the golden mean inherent to express cohesion of individuals and their community which go forward the ordinary folk`s culture and people-oriented life style as well as to symbolize their mentality, order, and harmony to protect individuals and the community from the external interference. Second, battle styles of B-Boying and Salpan show a collaborative relationship. In B-Boying performance, participants compete their talents and skills against each other through dance, not violence to decide who is a winner, while in Salpan, Salpan-soi(;head of acrobats) and Maeho-ssi(;clown) perform their talents and skills in a way of witty talks and senses of humor on a dramatic episode. Thus, B-Boying and Salpan show a same nature in a fact that they start the performance in a way of competition but end it in collaborative style to solve discords. Third, B-Boying prides itself on its colorful fashion and Salpan expresses beauties of humor and satire on society in those days. Fourth, main musics flowing through performances of B-Boying and Salpan are composed of repeated rhythms. The long and short rhythms repeat itself with percussion instruments to symbolize naturalism, restoration, and reincarnation implied in it and spectators and performers could enjoy the exciting moments together. Fifth, skills of B-Boying are pretty various and colorful as the essence of movements and are offhandedly performed on the spot. Its impacts on spectators depend on abilities of performers as Sinai(; shamanism music of Southern provinces) or Heothen-garak(;traditional rhythm) implied, and their vitality are on enthusiasm and exciting atmosphere of performances. On the other hand, Salpan is a performances mixed with movements and gestures, based on 12 acrobat skills. It symbolizes tranquility and peace for a year of 12 months in the folk arts, and the figure, "12" refers to hope and wellbeing of a community through one cycle, meaning of "whole", "every", and "big" thing, which implies thoughts and philosophy of Koreans. As mentioned above, their authentic factors took roots in our old indigenous emotions and thoughts to produce its own enthusiasm and exciting atmosphere as well as to solve conflicts for a collaborative life of community. Therefore, the study has a significance in establishing a cultural identity between traditional culture and modern one as well as offering a platform to research aesthetic factors in a philosophic way.