Janggo chum is a dance performed while carrying and playing the janggo. Choe Seunghui re-choreographed the traditional janggo chum she learned from Han Seongjun. Following a separate lineage, the sibiche janggo chum of Gim Chwihong was transmitted through O Cheonhyang, and is now preserved by Han Hye-gyeong. This dance is accompanied by the Gyeonggi folk songs “Hangangsu Taryeong” and “Cheongchun-ga” together with the Seodo folk song “Gin Nanbong-ga,” reflecting the musical background of Gim Chwihong as a Pyeongyang gisaeng skilled in Seodo japga. folksongs of the Northwestern area. The accompanying music exhibits the origin creator of the dance, Gim Chwihong. Gim likely chose Seodo folk songs rather than “Daepungnyu,” the conventional accompaniment for Pyeongyang gisaeng dance. Her original accompaniment was probably replaced by Gyeonggi folk songs that gained popularity, particularly after the wide reception of Han and Choe’s Janggo chum. As Gyeonggi folk songs of the cultural center eclipsed the Seodo repertoire of the periphery, and as the division of Korea further erased the Seodo tradition, the coexistence of both regional folk song traditions in Sibiche Janggo chum likely reflects this historical process of displacement.

The purpose of this study is to investigate and reflect on the pro-Japanese activities of Choe Seunghui, also known as Sai Shoki (1911-1969) during the Japanese colonial period. I reviewed literature including the Dictionary of Pro-Japanese Figures and documents from the Investigation Committee on Pro-Japanese Collaborators, as well as newspaper articles. Choe Seunghui's pro-Japanese activities from 1937 to 1944 included: first, donating large sums of money to national defense funds and pro-Japanese organizations; second, performing numerous consolation shows for the Imperial Japanese Army; and third, receiving the National Cultural Award for her pro-Japanese work Muhon. Immediately after liberation, Choe exhibited a process of denial, acknowledgment, atonement, and justification regarding her pro-Japanese actions. The study discusses her own stance on her pro-Japanese activities, the positions of South and North Korea, and the perspectives of the South Korean dance community after the lifting of restrictions on her works, highlighting the gap between 'facts' and 'acknowledgment.' In conclusion, the study emphasizes the importance of remembering both Choe Seunghui's pro-Japanese misconduct and her contributions to dance. As Hannah Arendt insightfully noted, the phenomenon of 'thoughtlessness' leading to immense evil can occur not only in past instances like Nazism or pro-Japanese collaboration but also in contemporary contexts. This study aims to assist the dance community in existing as reflective individuals, aware of these historical lessons.