Salpuri Dance can be defined as one of the representative dance which expresses Korean spirit and taste, and Han(Agony) and Sinmyeong(Mirth) best which is the basic thought of Koreans. We can say that Salpuri Dance is a dance of Sinmyeong which is on the background of Korean nation’s sad emotion, but is proceeding to Heoung(Excitement) or the world of Sinmyeong, overcoming the sadness. In that point, Salpuri Dance is mentioned as representative art work which featured the shape of Han and Sinmyeong, in other words, tying and solving. It is praised higher in the point that it solves from tied structure to solving structure, in other words, it has calmness in dynamic and dynamic in calmness, as the form of moving in staying, which solves inside, not by revenge. Even though this is not only for Salpuri Dance but also common for the wide range of Korean traditional dance, it should be emphasized again that the greatness of the art of Salpuri Dance is respected in the fact that the expression of moving in staying is more delicate. The results of the research on Han and Sinmyeong, inherent in Salpuri Dance, are as follows; First, Han means the situation of something staying in the mind, and this feeling, being concentrated, composes Han. Han is a feeling of sorrow, is a spiritual tradition of Korean culture, and is a peculiar and valuable reflective device which was discovered by Korean people. Second, Sinmyeong, linearly, can be found in a religious flow. Being Sinmyeonged means to burn the body charging onto the Sinbaram, which is caused by the god who received the god with body. Sinmyeong has two feature; selflessness ritual and solving ritual. The ritual of being mad is an experience in the exciting period of Sinmyeong, and the ritual of solving is in the finishing stage. Third, Salpuri Dance is being appeared with dual-structure through the process of solving Han; passive emotion and active emotion. Salpuri Dance is a dance of Sinmyeong, which sublimated tied structure to solving structure, in other words, from Han to Sinmyeong. Fourth, Salpuri Dance has its three essential factors; moving in staying. It forms a cycling structure with the principle of Taegeuk, Korean traditional though. Fifth, Salpuri Dance has recovering structure, which solves to take physical, spiritual, and realistic stability, because it is to prevent or to solve Sal or Aek. Sixth, Han and Sinmyeong exist not being separated but wrapping together, in other words, Sinmyeong is the surface structure when Han is the deep structure. This feature of Salpuri Dance reveals a paradoxical system. It has so-called paradoxical dynamic structure, in which the peak moment of tear becomes the very moment of Sinmyeong, in other words, Han becomes Sinmyeong and Sinmyeong becomes Han. This way, Han and Sinmyeong in Salpuri Dance, can be defined as dual-structure, cycling structure, recovering structure, and paradoxical dynamic structure of tying and solving. Han and Sinmyeong are traditional emotion of Korean people, and Salpuri Dance shows its value when the traditional folk dance can be deserved as the foundation. Currently, we, who are living in a continuously changing era under the flood of information of 21C, are making a lump in the mind, with accumulated desire for better life as a human and for self-realization which is required by the era.