The purpose of this study was to investigate trends in male choreographers’ work in Korean dance, as demonstrated in “12 Korean Contemporary Dance Choreographers’ Showcase.” For this study, the researcher observed the showcase before collecting and organizing critiques about the showcases from dance magazines, such as 󰡔Auditorium󰡕, 󰡔Performance and Review󰡕, 󰡔Dance Forum󰡕, 󰡔MOMM󰡕, 󰡔Dance Korea󰡕, 󰡔Dance󰡕, and 󰡔Dance and People󰡕. These articles were collected from performance pamphlets and related news in the 1990s or earlier from the Internet News Libraries (newslibrary.naver.com). The researcher also interviewed and communicated via email with the choreographers who participated in the showcase. The interviews included questions about background information in creating the work, the focus of the dances, and their points of view. From 1987 to 2005, a total of 15 male choreographers in Korean dance participated in”12 Korean Contemporary Dance Choreographers’ Showcase,” composing a total of 26 performances. Gook Soo-Ho participated in the showcase eight times, including two repeat performances. As this showcase emphasized premieres, Jeong Jae-Man had three performances, Chae Sang-Mook had two performances, and Kim Yong-Cheol had two performances. The Other 11 choreographers had one performance each. The choreographers demonstrated various themes in “12 Korean Contemporary Dance Choreographers’ Showcase.” Performances with the themes of fraternity and love for family included “By the River in North Korea” by Gook Soo-Ho and “Share” by Kim Seung-Il. Performances with themes of nihil and samsara included “Empty Boat,” “Gook Soo Ho’s Bolero,” “Garden of God Ⅰ- Nought (無)”by Gook Soo-Ho and “Mind Purifying Music” by Chae Sang-Mook. “Dance in the Sky” by Jeong Jae-Man illustrated the pursuit of an ideal, whereas “Sound of Dried Wild Flowers” by Chae Sang-Mook and “Light Wind” by Kim Yoon-Soo tried to overcome reality. There were also themes of exorcism (ritual ceremony) for the repose of souls: “Meditation of Myeonam” by Gook Soo-Ho, “Fever” by Im Gwan-Gyu, “Like Butterflies” by Lee Hong-Jae, and “Black Exorcism” by Kim, Yong-Cheol. Finally, there were themes of discovery of the ego and self-training, including “Danya (Red Bellow)” by Kim Yong-Cheol, “Shadow” by Kim Jeong-Hak, “Sad Song” by Han Sang-Geun, “Ego” by Lee Gyeong-Soo, and “Far Away” by Kim Nam-Yong. Since 1987, male choreographers in Korean dance have demonstrated unique performances in “12 Korean Contemporary Dance Choreographers’ Showcase,” presenting dance performances with religious and philosophical speculation. Generally, they emphasize themes about human beings and the environment. There are fewer female choreographers in Korean dance than male choreographers. However, female choreographers also try to show their spirit based on their lifestyles and experiences. As choreographers in Korean dance, they adopted the division of Korea and the Korean environment as a theme rather than showing the uniqueness of Korean traditional dance movements in developing Korean contemporary dance techniques.

To Japanese colonialists, scholars, and common Koreans influenced by and educated through the Japanese colonial historical perspective, Kwangmoo and Yunghee Emperor were powerless, impotent monarchs in the face of the Japanese forces. This kind of estimation corresponds exactly to that of the Daehan Empire under Japanese colonialism, which intentionally negated the positive role of these two emperors. However, we have to reconsider and re-evaluate this estimation. We can pose two political statuses, namely those of an “instrument of Japanese colonial domination” (Instrument) and a “symbol of anti-colonial resistance” (Symbol). Yunghee Emperor became a new emperor of the Daehan Empire under the Japanese in the era of the Residency-General, and played the role of Instrument to his death by the Japanese powers, who tried to use this emperor and the Royal Chamber itself. Paradoxically, and regardless of the Japanese intention, Yunghee also played the role of Symbol to oppressed common Koreans. We can confirm this role in the Royal South Tour and the Royal West Tour in 1907, as well as the Royal Tomb Tour in 1917. In the Royal Dance and Music for his 50th Birthday Party, the Instrumental meaning was greater than the Symbolic meaning due the Japanese Government General’s ability to distort these two art forms. It is a general estimation that Yunghee’s political status was that of an Instrument rather than a Symbol in the eras of both the Residency-General and the Government General. The Instrument status is practical, positive, and general, whereas the Symbol status is symbolic, negative, and partial. To the Japanese colonialists, Yunghee was an Instrument, and his status as a Symbol was permitted to a limited extent for common Koreans. However, we can deepen this Symbolic role through the further research.

The congratulatory party that celebrated the 50th anniversary of the birth of King Sunjong took place at Injeongjeon Hall in Changdeokgung Palace on March 25, 1923, during the period of Japanese Occupation. As the royal family would not hold any big events after the demise of King Sunjong in 1926, it was the last event by which one can track changes in the parties of the Joseon Dynasty. This was different from the usual parties of Joseon Dynasty. The changes involved the venue, as it was not held at Jeongjeon (the courtyard for the main building) but instead took place inside Donghaenggak and Injeongjeon placed in the corner, and it also involved the serving luncheon and dinner, with participants seated at two rows of Western-style tables. Such changes distinguished the party from the previous Jinyeon (palatial party) of the Joseon Dynasty. Despite such changes in the royal ceremonies, in contrast to the Korean Empire, specific norms were not adopted in the period of Japanese Occupation. The modernizing changes to the ceremonies between the Korean Empire and the period of Japanese Occupation show how the Joseon tradition developed into the modern tradition. Presumably, there were changes to the music and dance used at the party, but details on such alterations cannot be found. At the event, eleven instrumental pieces－including Taepyeongchunjigok－and seven pieces of Mudong jeongjae (“court dance music with a boy dancer”) were performed. Instrumental music and Mudong jeongjae were presented at both luncheon and dinner. When Mudong jeongjae was performed at the party, it drew attention, as this represented a restoration of a presentation that had been removed from the royal protocol 20 or so years before. Moreover, the students of Yiwangjik aakbu (“Office of the Yi Dynasty’s Ceremonial Music”) were trained to perform for the event, which was significant in that has carried the tradition of Mudong jeongjae up to the present times. Having considered the performance of Mudong jeongjae following the 50th anniversary of King Sunjong’s birth, Yiwangjik aakbu performed in Kyoto. Moreover, having been performed at the Kyoto presentation, Jangsaengboyeonjimu was learned by a Japanese dancer. Based on this, Miyako Odori was created in Japan. The work was performed at the exposition that not only marked the participation in World Expo but also celebrated the marriage of Hirohito and the 15th anniversary of the Korea－Japan annexation. Aalthough Mudong jeongjae was restored for the 50th anniversary of King Sunjong’s birth, it was one of the projects that was presumably planned and prepared for such purposes. Despite its changes, the ceremonies during the period of Japanese Occupation, including the party that celebrated the 50th anniversary of King Sunjong’s birth, are highly significant in that they were crucial in carrying traditional Korean music up to the present times. Nevertheless, musicians’ strenuous efforts to carry the traditional music through the period of Japanese Occupation should not be regarded as just one of the musical characteristics of the period or reenacted in an optimistic manner. When considering the court ceremonies during the period of Japanese Occupation, the context of what happened to Yiwangjik aakbu should first understand; this will allow us to determine which parts of the ceremonies are to be carried on and which parts are to be objectively described.

This study investigates the background, contents, and choreographic style of the Mudong (舞童) Jungjae (呈才) performed at the 50th birthday banquet of King Soonjong, the last emperor of the Korean Empire. Gainjeonmokdan (佳人剪牧丹), Jangsaengboyeonjimu (長生寶宴之舞), Yeonbaekbokjjimu (演百福之舞), Mugo (舞鼓), Pogurak (抛毬樂), Bosangmu (寶相舞), Suyeonjang (壽延長), Chunaengjeon (春鶯囀), and Cheoyongmu (處容舞) were performed at the banquet held on March 25, 1923, on King Soonjong’s birthday. Among them, Cheoyongmu was excluded from this study, as it was separately studied and performed by Aaksu (雅樂手) and five physically fit Aakseng (雅樂生) students from the first-year class of the Aakdae training school. Thus, this study examines eight Jungjae dances that were performed by Aakseng students who were selected as Mudong. The Korean Empire was colonized by Japan on August 29, 1910; following this, King Soonjong’s daily life was restricted through the control of Iwangjik (李王職), or the Office of the Yi Dynasty. This study examines Jungjae dances that were studied and performed by 11 Aakseng (雅樂生) Mudong; these were hastily put together for the 50th birthday of King Soonjong. Aakseng boys aged 13~19 years, who joined the Aakdae (雅樂隊) training school as the first-year and second-year class in the early winter of 1922. were abruptly enlisted to learn Jungjae dances. After five months, they performed for the king. This launched the dancing careers as Mudong for Aakseng students at the Aakdae training school within Iwangjik. The dances performed at the 50th birthday banquet of King Soonjong were mostly createdin 1828 and 1829. The story of these Jungjae dances included ① the love between husband and wife and ② a wish for the longevity and prosperity of the country. In addition, they comprised ③ entertaining elements that combined a wish for longevity with amusement, completing the broad variety of the dance. By the 29th year of King Gojong’s reign or the Imjin year of 1892, and following their performance at the 41st birthday banquet of King Gojong, the number of dancers for the Mudong Jungjae performance was finalized. The choreographic styles of the eight dances are discussed in greater detail below. The Mudong Jungjae of the Joseon Dynasty is said to have been passed down with great difficulty under political and cultural oppression during the Japanese colonial era. In this study, we propose to lay the groundwork for establishing a proper historical perspective on the dissemination of traditional dances through consideration of their background.

The subject of this study was Sasangjwa dance, the first part of the Bongsan mask dance, which is designated as No. 17 of the National Intangible Cultural Properties. The Sasangjwa dance is composed of dances that have no lines. Four sangjwas pray for the audience’s well-being and fortune, and at the same time, purify the stage by bowing to the Four Symbols. The dance is ceremonial and has characteristics of Byeoksajingyeong(which means to defeat bad things and approach good things. The Bongsan Mask-dance Drama Preservation Society’s regular performance has occurred continually for the past 69 years. Although the National Intangible Cultural Properties’ diverse activities have been performed for about 70 years, only a small amount of academic research on the first section of the Bongsan mask dance, the Sasangjwa dance, has been conducted. In addition, the terminology of the Bongsan Sasangjwa dance steps has not been established; therefore, linguistic communication is difficult in educational courses on the Sasangjwa dance. Accordingly, this study aims to record and arrange the Sasangjwa dance academically, present its dance scores, and establish terms for its dance steps, thereby providing a reference for future research. The terms for the dance steps of the Sasangjwa dance are indexed and arranged based on Akhakgwebeom and Jeongjaemudoholgi. Existing research has considered folklore mask dances to be irrelevant to Jeong-jae. However, this study considered the Sasangjwa dance according to its dance steps, formation, and scores and used Jeong-jae terminology to describe them. In the process, it was discovered that Jeong-jae terminology is implicative and uses referential and figurative language; this terminology was particularly convenient to explain the dance steps of the Sasangjwa dance, since the characteristics of traditional Jeong-jae were handed down to gisaengs, who adopted the Sasangjwa dance. During Japan’s colonial era, the Sasangjwa dance was performed by gisaengs at regional offices in place of the existing male mask dancers; as a result, the Sasangjwa dance was transformed into a feminine dance that was in obvious contrast with the Mokjoong dance. In this paper, the aim of establishing of dance step terminology for the Bongsan Sasangjwa dance was to facilitate the education of students and communication in general about the Sasangjwa dance.

This study begins with the question of what dances were performed in the Sa-ak during the Joseon Dynasty. The Sa-ak (賜樂) consisted of a director, musicians, female entertainers, boy dancers, and a Cheoyong masked dance group. The research objective is Jeongsanggonhoenangilok, which was written to celebrate Hoebang (回榜)’s 60th anniversary of passing the state examination by Jeong Won-yong(1783- 1873). The Joseon wangjo sillok (朝鮮王朝實錄) and Akhakgwebeom (樂學軌範) were also sources of background material, consisting of official records and literary works, that were subject to review. In terms of the rites of the Hoebang, on January 1, 1862, the king gave orders. In addition to feasting by the royal family, the government allowed citizens to also participate in festivals, many of which were held over the course of two months. Relative to the Sa-ak, the king established the first degree of Sa-ak, which consisted of a total of 52 people: 1 director, 36 musicians, 10 boy dancers, and 5 Cheoyong masked dancers. They performed for two months. In terms of the performances, the repertoires of the boy dancers were not recorded and remain unknown. While it was performed leisurely, it gave a feeling of flourishing and colorful. The female entertainers performed seven kinds of dances along with the Jangagwon orchestra: Cheoyong masked dance, sword dance, drum dance, pogulak (dancing ball into hole), seonyulak (dancing to play on the ship), and hyangbal heonseondo (dancing to give a long life peach). These repertoires were the most popular forms of jeongjae (呈才) in the late Joseon court. The Sa-ak was performed as part of a private feast. “Sa-ak” is an important keyword for understanding the culture of Korean dancing, because it spreads as “Sa-ak” in private space, and has the character of cultural circulation in which the enjoyment of royal court dance extends to individuals.

“Nakhwayusu (落花流水)” is the term for a dance move that appears only in Chunaengjeon (春鶯囀) and Cheoyongmu (處容舞). “Nakhwa” means falling flowers and “yusu” means flowing water. Along with these meanings, this study aims to derive a practical image of “nakhwayusu” by comparing the meanings of its various literary expressions. This study also identifies the meanings of “nakhwayusu” used in the dance moves of “jeongjae” and examine the actually performed pattern of this dance move. The contextual flow and intrinsic meaning of “nakhwayusu” were examined through a classification based on the commentaries of 35 literary works from the Joseon Dynasty, and meanings such as Taoist hermit, paradise, retirement, nature, and time were identified. For the term “dohwayusu,” the pattern of quoting and following the expressions shown in “Dohwawongi,” “Sanjungmundap,” and “Eobuga” was confirmed. In the Chunaengjeon text, “nakhwayusu” is juxtaposed with another term “jwauilbuliljeon [to spread the sleeve and turn to the left and then to the right].” In Chunaengjeon, “nakhwayusu” is a utopian paradise with a beautiful fairyland, and the flying and adjusting of the hansam, a long sleeve used for court dances, shown in a colorful and abundant space and the motion of neat rotation can be pictured. In Cheoyongmu, “nakhwayusu” appears in the closing part and is the continuous movement of powerfully spreading the hansam on the shoulder diagonally upwards. Although this dance move somewhat lacks any historical basis in the literature, this move should be understood on the basis of the classics. This study aims to identify the meaning of the poetic term “nakhwayusu” and to understand its characteristics in order to provide a modern successor by laying the groundwork for the practice of jeongjae.

This is an essay about restore of court dance by searching at activiies of Kim Cheon-heung, a great master of Korean traditional dance and music and a silent film made in the 1931. To the research, Jeongjae; traditional court dance performed by Kim and the restoration procedure are reviewed. Also the contents and utilization values of which offered appropriateness and confidence of Kim's Jeongjae project to audience. As a result, it was found that core of the Jeongjae restoration was Kim Cheon-heung, not documents of Joseon Dynasty, record paintings; Uigwe[ 儀軌 ] and Holgi[ 笏記 ]. This is because Kim was existence figure who served as a successor of Jeongjae since late Joseon Dynasty containing modern court music institute, Yiwangjik Aakpu. has the existence of justification for the very reason that Kim is entitled to restore Jeongjae. The restoration of the dance is divided into three parts; first is steps to expand repertoire of Jeongjae and restore dancing, second is steps to restore each processes of court ritual, and last is steps to develop new creative dance drama by using Jeongjae. In the third case, historical documents, paintings and film such as are paalied as a materials of creation. Also, in the restoration process, it was suggested that the beginning of the restoration work was made through historical literature, such Uigwe[ 儀軌 ] and Holgi[ 笏記 ], but eventually completed by creation. There is a limit to the writing or painting of a series of movements with continuous movements. It is only possible to create a gap between the cracks in this discontinuity, and Kim used the dance he had learned through his lifetime as a tool for creativity. Now we need to concentrate more on the creative exploitation of dance with Kim's achievements. First, for the future development of dance, the importance of dance and cultural sharing of dance worlds is paramount. Second, the dance majors should be systematically educated by Jeongjae as well as in elementary, middle and high schools. Lastly, Jeongjae should be used as a free ingredient rather than as part of a rigid court culture. I expect to study in neighboring areas such as dance academia, classical music, aesthetics, and theater in the near future.

Joseon Muak is a black-and-white silent film produced on June 29, 1931. This film was made in the Japanese Government General of Korea. This was made under the name of King Yeongchin. It was made to be sent to the royal family in Tokyo. This study starts from the question of what the values and limitations of Joseon Muak are. This article applies a cultural perspective on the Joseon Muak. Seven dances were recorded on the film. The seven dance include Bongraeui, Bosangmu, Mugo, Jangsaeng boyongimu, Pogurak, Cheongmu, and Hayongryongmu. All these dances were performed by boys called mudong. The value of this the film is as follows. First, there is the material value the oldest image material of Jeongjae. Second, it shows a Japanese occupation version, hence holding the value in its content. Third, there is a transferable value in determining the trace and change. Fourth, it is aesthetically worthwhile to experience the aesthetic achievement. It has the following limitations. First of all, there is a limit of silent films that do not feature music. There also is the ultimate limitation of being built in a very abbreviated form.

The purpose of this study is to investigate the dance life history of Jeong Jae-man (鄭在晩, 1948-2014) based on the documents. This study was to lay the foundation for future studies in order to overcome the limitations of insufficient historical data on Jeong Jae-man's dance due to his sudden death and the lack of theoretical background for posthumous studies on his dance. The data used for this study was collected from research data, media articles, interviews and other materials, the research method was studied by classifying chronological order in the total form, which is the method of text analysis in the study of living history. As a result, the dance life history of Jeong Jae-man was divided into five categories: the first period ‘Growth’, the second period ‘Activity’, the third period ‘Career-Building' and the fourth period of ‘Handing down', and the fifth period of ‘Transmission'. The study is expected to provide useful academic data to his junior colleagues who preserve and transfer his dance and to serve as an evaluation reference in analyzing the historical flow of intangible culture. The study is expected to provide useful academic data to younger generation of students who suceeed and preserve and his dance and to serve as an evaluation reference in analyzing the historical trend of flow of intangible cultural assets.