The purpose of this study is to examine the life and works of Ju Ri, and to investigate national identity represented in her works from 1955 to 1970. This study provides important materials to Korean ballet history. I analyzed relevant written materials and conducted interviews with Ju Ri and people who remembered her works. The interviews could be the most appropriate way to understand Ju Ri, due to the lack of written materials about her. My interview with Ju Ri might be quite partial and fragmented, but such limitations were complemented by conducting interviews with people who could remember Ju Ri’s works. Ju Ri’s dances have greatly been influenced by Choi Sung-Hui. When Ju Ri saw Choi’s performance, Ju Ri thought “I want to be like Choi Sung-Hui” and went to Choi's dance academy in Japan. Ju Ri then found Mazdadakashi’s ballet academy by chance and stayed there for six months to learn ballet. After Ju Ri returned to Korea, she studied dance under Jin Soo-Bang. And then Ju Ri established the ‘Song Bom & Ju Ri ballet academy’ with Song Bom, in 1951. And then Ju Ri performed for the military when the Korean war broke out. Such performances during the war made Ju Ri popular in Korean dance world. Ju Ri established the ‘Ju Ri’s ballet academy’ in 1953, concentrated on training her students, and choreographed eleven pieces. She was an active person as both a dancer and choreographer in the National Dance company where she gained more prominence. In December, 1969, she performed Amor which was based on Spain dance. Then, the wife of a Spanish diplomat saw her dance and suggested Ju Ri to study in Spain. After completing the whole course of Spain royal dance academy, Ju Ri opened the ‘Spanish Music Dance Academy' and taught students in Spain. She was invited by the Korean government in 1988 and performed at the inauguration of the 1988 Seoul Olympics. Thereafter, she came to Korea and performed three times. Ju Ri felt passionate responses from the Korean audience and decided to spread Spanish dance to the Korean audience. Therefore, she returned to Korea in 1999 to open the ‘Spanish Music Dance Academy’ in Apkujong. She runs this academy until now. Before Ju Ri left Korea in 1970, she choreographed fourteen pieces. Many scholars examined national identity in her works during this period. My analysis of the works is based on dance analysis method of Janet Adshead(1996). First, in terms of theme, Korea Fantasy demonstrates Barth’s nationalism, Choonhyanjon shows both Isajiw’s nationalism and Barth's nationalism, and Blue Attire shows Basch’s transnationalism. Therefore, the three works have national identity in common. Second, in terms of music, Korean Fantasy music has national identity that includes a Craib's theoretical background and Variation for Kayagum and Folk music has national identity that includes a Hall Enix's theoretical background. Consequently, it is very evident that Ju Ri has incorporate national identity into her works while selecting music for her works. Third, in terms of movements, Korean Fantasy, Variation for Kayagum and Folk, Choonhyangjon, and Blue Attire have national identity which was defined by Tim Edensor and based on the transnational theory by Basch. It shows that Ju Ri has incorporated national identity into her works when she explores movements. Fourth, in terms of costume, Korean Fantasy, Variation for Kayagum and Folk, Choonhyangjon, and Blue Attire incorporated national identity that is also defined by Tim Edensor and based on transnational theory by Basch. Ju Ri has also tried to contain national identity in designing the costumes for her works. Finally, in terms of stage design, Korean Fantasy and Blue Attire draw on Isajiw’s nationalist theory. It is evident that Ju Ri has tried to contain national identity in designing for the stage. As mentioned above, Ju Ri tried to spread western ballet which contains Korean national identity. This research would be the valuable resources to understand her life and works and to provide historical documents to study Korean dance.