This study is intended to examine the organization of daemu[對舞] and baemu[背舞] of early Joseon court jeongjae[呈才], comprehensibly inquiring into dangakjeongjae[唐樂呈才] and hyangakjeongjae[鄕樂呈才] of Akhakgwebeom[『樂學軌範』]and comparing them in the aspect of formations and dancers. The jeongjae that employs daemu[對舞] and baemu[背舞] are “Gokpa”, “Geuncheonjeong”, “Seongtaek”, “Sumyeongmyeong”, “Suborok”, “Suyeonjang”, “Yeonhwadae”, “Oyangsun”, “Yukhwadae”, “Pogurak”, “Haseongmyeong”, “Hahwangeun”, “Abak”, “Hakyeonhwadaecheoyoung -hapseol”, “Hyangbal” and “Bonglaeui”. The formations of these jeongjaes are one line formation, jeonhu formation, left-right formation of two lines and four lines, obang formation, sau formation, sabang formation, samdae and palgwae formation. Depending on kind of jeongjae, daemu and baemu are performed either in one formation or in more than one and they are either performed respectively or together. The progression of the dances varies depending on the formation of a jeongjae both in dangakjeongjae and hyangakjeongjae, such as formation-centered progression where jwamus progress with jwamu and wumu with wumu, line-centered where jwadae and wudae progress separately, line-and-formation-centered and seonmo (the center of stage)-centered progression.