The aim of this research is to understand the dancing culture of the Joseon Dynasty period(1392～1910) by examining dancing pictures in multi-level. The objects of the analysis are 22 pictures of dancing in royal space, 37 pictures if one counts copies and different editions. Iconography and literature research are used as basic research methods, and comparative study is used as well. Chronologically speaking, the pictures of dancing in royal space had been drawn from Jungjong(1488～1544, r.1506~1544) to Gojong(1852~1919, r.1863~1907) in Joseon Dynasty. In terms of space, royal palace is the space where the royal family and officials enjoyed dancing. In terms of audience-performer, there are only male audiences in dancing pictures from Jungjong to Yeongjo(1694~1776, r.1724~1776) but female audiences appear from Jeongjo(1572~1800, r.1776~1800). The performers in the dancing pictures are various like female dancers entertainer called as ginyeo, boy dancers called as mudong, cheoyong dancers, and even officials. In later times, the dancing ginyeo becames noticeable. It has been proven by the pictures of dancing officials that the officials were dancing in the party with a king. In terms of the way of drawing dancing, it has been started from Jeongjo that multiple jeongjae appear in one scene as if they are performed simultaneously. In Soonjo(1790~1834, r.1800~1834), dance painting accurately reflected the performance. All the dances performed were pictured. Gradually, however, during the Korean Empire, only some of the dances performed were painted. Popular dance was drawn frequently. I suggest that the importance of dance in record pictures of royal space is directly proportional to the importance of dance in real culture.

The purpose of this study was to investigate the significance of Mu-ui (舞義, ritual of dance) by Seong Gyeong-rin in dance history and its value as Holgi (笏記, scroll document). This study identified the characteristics of the Japanese colonial period Jangsaengboyeonjimu (長生寶宴之舞, Dance of longevity) by comparing the record in Mu-ui to that in Jeongjaemudogholgi (呈才舞蹈笏記, scroll document of court dances). First, the costumes of dancers were five colors, and second, the song Changsha expresses simplification and degraded expression. Third, there was a slight difference in composition at the end. Fourth, in the dance, the order of the nine-sided dance was all the same, so there was no big change, but dance details were added to Mu-ui or little details were recorded. Fifth, there was a change in notation, but most of them had the same meaning or dancing. Those findings indicate that Mu-ui by Seong Gyeong-rin has the following values and significance in the dance history. First, it holds its value as a Holgi of Yiwangjikaakbu (李王 職雅樂部, the downgrated insitution of Jangakwon). Second, it offers information about the changes of court dance by Yiwangjikaakbu during Japanese colonial period. Finally, it enables the reproduction of Yiwangjikaakbu’s court dance by Mu-ui.

This study examines the court and private versions of Yukhwadae (六花隊, Formation of six flowers) of the Joseon Dynasty in order to identify the pattern of coexistent and exchange of different cultures such as the royal court and the private sector. The development and changes of Yukhwadae illustrate a way of cultural transformation of dance.

To clarify the cultural transformation of Yukhwadae, this study analyzes the court's documentary records centering on Akhak Gyebum (Canon of Traditional Music) and the civilian literature records centering on the records of Gyobang Gayo (Song of Gyobang).

In Yukhwadae, which was transferred to the public from the courts revealed through literature, all ritual articles of Dangakjeongjae, such as jukganja (pole bearer), uimul (instrument), and changsa (song or chant), were eliminated, and the overall format was simplified. In addition, the content of dance was selectively accepted and reinterpreted, and costumes and music were transformed to be suitable for the private sector. Therefore, through this study, it was found that the strict form of the royal court Yukhwadae was exchanged with the private sector and transformed into a popular and diverse form suitable for civilian performances.

As such, it was found through the results of this study that different cultures were exchanged between the royal court and the private sector during the Joseon Dynasty. I suggest to consider dance from a perspective of cultural exchange, researching various dance cultural exchanges, and contributing to the development of dance.

This study aims to record Bae Myeong-gyun's introductory course of basic dance in chronological order in which the researcher studied the lower body, foot, upper body, and tone breathing method. Bae Myeong-gyun did not promote the dance himself on the stage. It can be seen that the method of stepping on the lower limb, the upper limb, and the tone breathing method are logically clear. This can be referred to as the principle of wood, the principle of plants, that is, the dance teaching method huses with the principle of nature.

This teaching method will provide a way that students and the general public who are initiating to learn dance approach to a dance principle and will become the model of all dance.