Maru refers to a basic paragraph in Korean traditional dance, which can be long or short, depending on the performance conditions or the environment. This research aims to determine if there is a paragraph corresponding to Maru in court dance based on the previous study of Han Yeongsuk's Buddhist dance and Mokjung Dance of Bongsan Mask Dance. To this end, Cheoyongmu and Chunaengjeon, representative dances of Hyangakjeongjae, are studied in this paper. Furthermore, the paragraph that was classified by the Jipbagaksa hitting "Bak" was collectively referred to as "Bak paragraph" and the previous methodology on analyzing Maru was applied. As a result of this study, the following results have been obtained. First, the elements that make up "Bak paragraph" of court dance and Maru of traditional dance are lexical chumsawi. Both show similarities in meaning, type, and composition. The court martial arts series, however, shows independence of form and meaning through a simpler and more stable pattern. Furthermore, "Bak paragraph" and the Maru of traditional dance convey a certain message despite slight differences in their compositions. In addition, Maru refers to the phrase of court music as well as the instrumental music of Pungryubang, a chorus or refrain of a folk song. Therefore, "Bak paragraph" and Maru reflect the characteristics of court dance. Also, "Back paragraph" that contains specificity can be considered to represent Maru in a comprehensive sense.

In the second volume of the book Samguk Yusa (The History of Three Kingdoms), Cheoyong appears as a son of the Dragon King of the sea in an era of King Heongang of Silla. He got married to a beautiful wife from Silla. One day, as he came home late, he discovered that his wife was sleeping with a god of epidemic. Looking at the scene, Cheoyong chased away the god by singing and dancing. In this folk tale, the meaning of each characters is interpreted as follows: the god of epidemic means disease, his wife means a patient, and Cheoyong himself means a dance therapist. I approached Cheoyong Dance as an act that he defeated the god. In this paper, I would like to develop a new therapeutic Cheoyong Dance for promoting health by combining traditional Cheoyong Dance and Gigong Exercise. This will be the way to approach the public easily as another role of healthy Cheoyong Dance. The combining Cheoyong Dance with Gigong exercise will be the way of promoting healthy life and wellbeing.

The findings of this study are derived from a comparison with 『Jeongjaemudoholgi』 in order to consider ㆍㆍㆍㆍㆍㆍㆍㆍㆍㆍ and Jeongjaedos: suggested a dance of eight Yeoryeongs standing in a two-fold left and right formation. In it, the dancers on the left and right sides stretch out both of their arms while facing each other and facing south. Only one piece of it remained in Uigwae, Yeoryeongjeongjae. suggested a dance of two people for Hyeopmu moving north and partnering with each other. Four pieces have been handed down through four types of Uigwae, and all are Mudongjeongjae. offered a dance moving forward on top of the edge of Daemoban. Three pieces remained intact in three types of Uigwae, including Mudong and Yeoryeong. suggested a dance performing “Naesuyeomanoesubanhageo [Horo two people]” by moving north in the front and the rear formation with Horo two people positioned in front and Hyeopmu in the rear. Five pieces have been passed down through four types of Uigwae; three of them are Mudong, and the remaining two are Yeoryeong; their dance notations are of one kind. introduced a dance of Oemugi and Naemugi turning outwards, inwards, right and left around a boat. Eleven pieces remained in eleven types of Uigwae, all of which are Yeoryeongjeongjaei, with ten kinds of dance notations. suggested a dance of Jukganja partnering in the introduction while facing left and right in twofold left and right formations in the proceedings. Eight pieces have been passed down through eight types of Uigwae, all of which are Yeoryeongjeongjae, with dance notations consisting of two contents. introduced a dance of partnering in a five-direction formation and turning inwards, outwards, left, and right in a circular formation. Four pieces are found today in four types of Uigwae: one of them is Mudong, and the other three are Yeoryeong, with dance notations composed of four contents. contains a dance of Hyeopmu 2 people heading north in a single file, centered in and out [Oesuhanaesuyeoman, Naesuhaoesuyeoman]. Six pieces are available today in six types of Uigwae, all of which are Mudongjeongjae, with dance notations consisting of two kinds of content. Jeongjaedo refers to a solo dance of one Hyeopmu heading towards the north and northwest on top of Hwamunseok. Its standing locations on Hwamunseok vary from center, north, or south. Eleven pieces remained intact in ten types of Uigwae: two are Mudong, and nine are Yeoryeong; and their dance notations contain three kinds of contents. offered a dance of Hyeopmu with two people going north to dance in a single file. One aspect that all have in common is their holding of flowers in Oesu [Oegeosunaesubanhageo]. Three pieces are found today in two types of Uigwae; two of them are Mudong, and the other is Yeoryeong; their dance notations have been reduced to two kinds of content. is composed of a story of a crane pecking at Jidangpan and thereby letting Dongi stand up. It introduced a dance involving partnering in a single file line in the south of Jidangpan. Eight pieces have been passed down through eight types of Uigwae; all are Yeoryeongjeongjae; and they have only one type of dance notation. suggested a dance of partnering in a single file or twofold left and right formation in the case of two or four people. Dancers head north or facing each other in a single file line or encounter each other around a dancer in a fourfold left and right formation. Six pieces have been found today in nine types of Uigwae; five of them are Mudong and four of them are Yeoryeong; their dance notations are divided into nine. One to eleven pieces were contained in each Jeongjaedo, and one to two, four, five, or seven pieces had the same dance notations. In some cases, the dance notations of Mudong and Yeoryeong were the same, and the pictures of one dancer were repeated in multiple Jeongjaedos. Almost all dance notations suggested similar content, and many were proposed on one page. Those can be identified through Jeongjaedo, which were the compositions of dancers, formations, movements, directions, and locations recorded in Holgi. On the other hand, what was not documented in Holgi were supplemented by pictures, through which the researcher discovered that the arrangements of dancers varied depending on the nature of banquets. Therefore, various formations were adopted, and the centers around which dancers were partnering were the formed line itself or the dancer.

The most important element in the Cheoyongmu is the mask of Cheoyong. Even if all of the costumes are present, the performance is not considered Cheoyongmu without the mask. In the ninth volume of ancient record Akhak gwebeom, in the section titled “CheoyongGwanbokDoSeol,” the making of the mask is recorded in detail., as well as the costumes and accessories used in the Cheoyongmu. From 1394 to 1442 (Sejong ’24), Cheoyongmu actors were women; however, men performed the Cheoyongmu for 61 years, from 1443 (Sejong ’25) to 1504 (Yeonsan ’10). After that time, the Cheyongmu was performed by women again. As of 1504, the Cheoyong mask underwent a drastic development. The time-frame of this change was 11 years after the Akhakgwebeom was written. Under the Yeonsan kingdom, Cheoyongmu was recorded in greater detail, mainly because of the king’s great interest in the performance. The significant changes made to the Cheoyong mask also occurred because the performance attracted the king’s attention. One example of the change of the design can be found in the mask’s beard; in the description in “Pubyok pavilion banquet,” the Cheoyong mask has no beard, which is extraordinary because this became one of its most distinctive features. Another example is the protruding jaw of the mask. In the books of “Dobyoeng” and “Gyecheop,” the jaw part of the mask was significantly emphasized. All of these features contradict those mentioned in the Akhakgwebeom. The design of the Cheoyong mask was not concluded in the time of writing the Akhakgwebeom; instead, it underwent significant and constant change over time. During the Japanese occupationera, the mask design deviated from the original design used in the Chosun dynasty. The office of the “Aakubu” is known to have performed the Cheoyongmu; however, the mask and costumes were not consistent with the original version of the performance. This is considered to be a separate artwork rather than the Cheoyongmu. There is also a record showing that some Japanese people made Cheoyong masks in that era. Throughout the late Chosun dynasty, the design of the Cheoyong mask was distinct to what is believed to be the original. However, the exceptionally long jaw of the mask, as described in “Heon-jong-dae mu-sin-jin-chan-do-byung,” is no longer reproduced. Regarding the changes of the mask in this era, it the true original design of the Cheoyong mask remains controversial. This represents another cultural disturbance stemming from the enforced occupancy by Japan. In this regard, the study of the Cheoyong mask represents the recovery of the distorted tradition of our country. From studying the Akhakgwebeom, as well as other historical records, we are finding out about a variety of original designs of the Cheoyong mask, including a humorous version from the Chosun dynasty era.

“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 paper aims to find how to utilize the dance of Silla era by figuring out what are the characteristics of dance are based on Silla people’s life and how it had been used historically. The characteristics of dance based on Silla people’s life are classified as those of amateur and of expert. Amateurs danced in various fields of life. There was dancing entertainment during community labor which was led by women. A woman monk comported life’s worries which were not able to be avoided even by Buddhist priest by making humorous dances. Wonhyo announced the name of Buddha by Muaemu. Silla nobles maximized their pleasure in parties by dancing entertainment and made drinking parties fun by dancing penalty. A king of Silla danced and sang a song when life’s worries resolved. Hwarang displayed patriotism by a sword dance. There were three characteristics in expert’s dance. First, Silla set a high value on moderation and self-control by aiming for dance joyful but not dissipated and sad but not grievous. Second, people considered pleasure and enjoyment as a root of dance creation. Third, dance took a key role in performing arts of Silla. Silla dance was used in history of Goryeo and Joseon dynasty. Muaemu and Cheoyoungmu were consistently utilized in dance by amateurs and experts. Cheoyoungmu which was utilized by expert’s dance in Chosun dynasty was performed in events of royal family, ceremony, events in local government offices, and private rituals. Hwangchangnangmu was consistently utilized in Gyeongsang Provinces as considered as Silla dance. Currently Silla dance can be utilized in Gyeongju in varying purposes. It is expected to continue Silla people’s life dance in various ways even in the present times.

This study aims to examine the changes in dance moves and accompanying music of Cheoyongmu(處容舞) that had been performed at royal banquets during the late period of Joseon Dynasty. To do so, the researcher examines documents related to banquets during the period in order to observe how and why Cheoyongmu had changed over time. As such, it is a follow-up study to the “Study of Cheoyongmu during the Reign of King Cheoljong(哲 宗)”. The research outcomes prove a previous argument wrong, which claims that succession of Cheoyongmu was severed on the basis of the absence of related records for seven decades in the late period of Joseon Dynasty. Another finding is that Hyangdanggyoju(鄕唐交奏), which appears with great frequency as an accompanying music in Euigue(儀軌) and Holgi(笏 記) during the late period of Joseon Dynasty, was in fact Youngsanhoesang(靈山會上). The analysis suggests that changes of Cheoyongmu for royal banquets during the period were widely different from changes in the early period of Joseon Dynasty. Specifically, the most pronounced change came from music. Contents and organization of dance moves also underwent changes, and above all, the song, Cheoyongga(處容歌), was not performed in banquet rituals during the late period of Joseon Dynasty. These findings are expected to lay down basic information to illuminate more accurate history of Cheoyongmu for the future generations.

This study analyzes the research trends of seven Korean traditional dances designated as national intangible cultural heritages that are given social values and cultural symbolism as a historical heritage of the country. Research papers were collected by using the seven dances as the search keyword and analyzed through text mining methods. These collected papers investigated frequency analysis, entity name recognition, connection centrality, and N-gram, focusing on their titles and publication years. For the final analysis, 1,043 articles published in academic journals and 1,065 thesis and dissertations in RISS were used.

As a result of the analysis, there is a large difference in the number of papers, depending on what genre an intangible heritage belongs to. It can be also found that research on traditional dances has gradually decreased. Many studies have shown the tendency to concentrate on the interpretation, preservation, and transmission of traditional dances. In the meantime, more studies are being conducted to develop or popularize Korean traditional dances as educational programs and contents.